Tag Archive: glass

andrea borst: dancing glass jewels

Sign up here to receive the DAM newsletter.

Let’s start the week light and breezy with Andrea Borst’s colorful glass jewelry. I didn’t find much about the artist, but I can tell you that she creates each of the tiny glass elements at her torch, then weaves them in an open structure using steel cable wire.

Field of Flowers, six strands, glass, silver, steel cable

Orange Blossom ZigZag, two strands, glass, silver, steel cable

My guess is that the tiny glass shapes shift and move on the body, their dancing ways enhanced by the flexible cables that spring and bounce when touched.

Dragonflies In The Reeds, three strands, glass, silver, steel cable

Sealife, plants and abstract shapes make up much of Borst’s portfolio (and it is an extensive portfolio), but if you look in the archives you will see that the German artist shows a whimsical sense of humor with necklaces made up of kitchen gadgets, food, children’s toys and clothing. Bright. Colorful. Fun. Happy Monday. . .

A variety of clothes

Clothing, one strand with mini beads, glass, silver, steel cable

Sunday Breakfast For Two

Andrea Borst at the torch

david walters: glass vessels

Sign up here to receive the DAM newsletter.

These stunning vessels are the work of glass artist David Walters. A RISD graduate with a printmaking background, Walters is best known for the detailed, narrative drawings he paints on his blown glass vessels. He often paints characters from fairy tales, adding references to his own personal history – the results are unique and powerful, sometimes dark and edgy.

Shed A Tear For Alice, 3ft x 1ft, blown and hand painted glass
{click image to enlarge}

Hansel and Gretel, 3ft x 1ft, blown and hand painted glass
{click image to enlarge}

Calami-Tea or Love Me, Hate Me, 37 x 9 x 10″

Look No Strings, 14 x 17 x 7″

As he learned his craft, Walters was a gaffer for Dale Chihuly and Lino Tagliapietra. Working with Tagliapietra for more than 16 years, he credits the glass master with being a key inspiration in his development as a glass artist.

Craf-Tea Little Alice I, 29 X 11″, blown and enameled glass
{click image to enlarge}

More at Traver Gallery and Schantz Galleries.

Read a Robin Rice essay about Walters here.

battista’s sideshow reminds us that we are all living curiosities

Sign up here to receive the DAM newsletter.

Carrie Battista’s glass circus tents represent the sideshow performers that she feels most connected to as a glass artist who is often observed while she manipulates the hot, molten medium.

 

The Elephant Tent, blown glass, verre eglomise
16” x 11” x 11”

The Elephant Tent, back

Battista gilds the interior wall of the glass tents with precious metal leaf and scratches drawings into the surface. Each tent also houses a mirror that distorts the viewer’s image. Spectacular.

The Itty Bitty Lady Tent, blown glass, verre eglomise
12” x 8” x 8”

The Itty Bitty Lady Tent, back

“Traveling sideshows have always fascinated me. I feel that living the artist’s lifestyle parallels that of the performers on display – alienated, nomadic and continually on exhibit. I frequently find myself being the subject of observation as I make my work. With the hot shop as my stage I am forced into the role of the performer, leaving me feeling self-conscious and exposed.” Carrie Battista

Come and See!, blown glass, 22k gold, paint, fabric
18″ x 12″ x 12″

Come and See Too!, blown glass, 22k  gold, paint, fabric
24″ x 12″ x 12″

Come and See Too! detail

“My intention is for viewers to see themselves inside the tents and realize that we are all living curiosities.” Carrie Battista

See the entire circus series here and her bio here

meet linda behar and linda behar

Sign up here to receive the DAM newsletter.

After I posted Cayce Zavaglia’s embroidered portraits last week I found Linda Behar’s miniature textile art and knew I wanted to share it with you. Then the fun began.  As I was researching Linda Behar, textile artist, I discovered Linda Behar, glass artist.  Both artists create compelling work worthy of your attention.

 

Linda Behar, textile artist

Combining photography skills with her love of textile art, Behar first prints a photograph onto cotton broadcloth and then stitches the image with colored threads.

Autumn Leaves I

Each piece of art is no larger than the 4″ x 6″ photograph it represents and includes images of the salt marshes she is drawn to; her favorite time of year and cultural glimpses from her travels.

A Linda Behar original – at first glance it looks like she is holding a photograph.

Salt Marsh II, 3 7/8″ x 5 3/4″, Cotton Embroidery

 

“Since 1993 I have been taking photographs and then rendering them in embroidery. My pieces are small – often about 4” x 6”, a size and format that echoes the photos on which they are based. I build the image stitch by stitch, criss-crossing and overlapping thousands of flecks of color. My colored stitches, laid side by side or atop one another, are like the dabs of paint of Monet or Seurat – pointillistic color mixing. But the Impressionists wanted to portray a fleeting moment in time, whereas I want to convey a sense of timelessness.” Linda Behar

See the full portfolio on her website and her Flickr site.
More on the Mobilia Gallery website.

Linda Behar, glass artist

Trained as a civil engineer, the Venezuela native always wanted to be an artist. Eventually she switched careers, studying photography, blacksmithing and metal casting before finding her niche – glass.

From the series “Houses With Soul”
Tree House, pate de verre, mixed media

Behar studied at Pilchuk Glass School and the Penland School of Crafts to learn the glass casting and pate de verre techniques that dominate her work today. All of her previous training – in school and life – show up in her glass and mixed media art.

From the series “Two To Make A Home”
Leaf + Flower, cast glass, 20”x12”x12”

From the series “Houses With Soul”
Nest House, pate de verre, mixed media

“Considering that art is somehow a reflection of our society, I feel that my main objective as an artist is to create pieces that communicate a positive message. My work emphasizes that even in this troubled world, life is still full of meaningful things and joy. I want to show the precious and the beauty of our existence, contradicting some of the actual tendencies of the contemporary visual field.” Linda Behar

See Behar’s work from 1998-2009 on her website.

More current work here.

Two artists, two talented individuals, two voices, two mediums, one name.  Time for a collaboration?  Linda Behar, meet Linda Behar.

susan longini’s kilnformed glass sculpture

Sign up here to receive the DAM newsletter.

Pate de verre – or “paste of glass” – is a technique that uses glass frit and powder formed by hand, placed in a mold, then fired in a kiln.

[nonmember]This archived post is for Members Only. Click here to become a member or to get a one day pass. If you are a member, please login to view the post. [/nonmember] [private_archives]Glass artist Susan Longini creates one-of-a-kind wall quilts, sculpture installations and vases using this technique – her mastery of color is impressive.

Four Seasons Quilt, 39″ x 39″ x 2″, pate de verre

Fall, detail from Four Seasons Quilt

Crosshatch Amphora Grande Pair: Green/Cobalt
34 x 19″ x 8″ each, pate de verre, cast base

 

I read somewhere that Longini has said she is “afraid of shiny” and this process allows her to keep the surface completely matte. The end result is reminiscent of sugar, maybe even marzipan. However you choose to describe her work, I’m betting that the word delicious comes up.

I use glass for its seemingly conflicting  qualities: Transparency/opacity; Strength/fragility; Solidity/fluidity. These for me symbolize the universal state of being. Susan Longini

Falling Leaves: Green, 65″ x 65″ x 4″, pate de verre

Falling Leaves: Green, detail

 

From Susan Longini’s Website:

Pate de verre, literally “paste of glass”, is an ancient glass-forming technique, first documented in artifacts from Phoenicia and Egypt around 1500 B.C.E. Small glass granules, or frits, and powders are mixed with binders such as gum arabic, pressed into the desired shape, and fired in a kiln to fuse the granules together. Using the properties of glass as a liquid, the pate de verre is heated anywhere from 1270° F to 1600°F. The lower temperature retains the granular qualities, while the higher temperature gives a smooth, “glassy” appearance.

[/private_archives]