Creative Glass Serbia

Creative Glass Serbia

The Work of Christopher Day; glass, copper, and twine II photo: Simon Bruntnell, courtesy of the artist

Glass Art Society: Epicentre of exchange of ideas in glass artistry

The Glass Art Society is our most important conference. It happens in a different location each year for four days.

– Amy Schwartz, Corning Museum of Glass, Director of The Studio

Written by S. Jovičić and I. Mijalković

Celebrating the Art of Glass

The Glass Art Society (GAS) Conference is held annually in a different location and spans four days. Much like a grand birthday celebration for the art of glass, the GAS Conference programme of about one hundred events can bring together even 1,800 participants from around the world – artists, gallery owners, curators, collectors, researchers, and various industry advisors.

These are days filled with discussions, demonstrations of advanced artistic techniques, lectures, seminars, exhibitions, auctions, marketplace for artists, workshops, and a variety of other activities such as performances and film screenings centred on glass. During the Conference, GAS also presents its Lifetime Achievement Award, recognises outstanding young artists, grants lifetime memberships to the Society, and bestows other honours.

Demonstrations and seminars showcasing current trends in glass artistry are among the highlights of the programme. For example, when the Conference took place on the Venetian island of Murano in 2018, local masters (renowned as the best in the world) remarked that they had never seen anyone work like Martin Janecký. He meticulously shapes the inner side of the glass bubble rather than the front, as almost everyone else does. It is precisely these reactions – excitement and a keen interest in exchanging experiences with glass as an artistic medium – that inspired the founding of the Conference back in 1970.

Detail of a work by Martin Janecký, glass; source: Corning Museum of Glass

It was the idea of Bill Brown, a sculptor and designer who had served as director of the Penland School of Crafts since 1962 (the school had opened in 1929 in the mountain village of Penland, North Carolina). By 1965, he had already established a well-equipped glass studio there – one of the first in the United States – and begun organising intensive educational programmes. Since glass was still a relatively new artistic medium, he realised that artists would benefit from having a dedicated time and place to exchange knowledge about the material (glass batch formulas, successful shaping and annealing techniques, and so on), as well as to get to know one another. American ceramicists had already formed their own association (NCECA) in 1966 and held annual conferences attended by glass artists, many of whom had initially trained as ceramists and taken occasional glass classes. Those gatherings helped Bill understand what kinds of programmes would be most valuable for a community of glass artists.

At his invitation to discuss advancing glass knowledge and skills, around ten artists responded, including Fritz Dreisbach, Mark Peiser, Jack Schmidt, and others. In 1970, they met at Penland School to talk about their shared interests for the first time – a task easier said than done. Many of them were quite eccentric, focused solely on their own glass experiments, and the journey to Penland in the mountains was long. Mark Peiser later recalled, on the occasion of the 25th GAS Conference, that he had ultimately decided to travel from Chicago to attend because Bill had promised him $200, so it would cost him nothing. His anecdote drew much laughter from the audience, which by 1995 had grown to around a thousand glass artists and other Conference participants.

The founding of the Glass Art Society; members in the Glass Studio around 1970 (left); Bill Brown & Dave Jacobs around 1970 (right); source and copyright: Glass Art Society.

The Penland meeting evidently went well, and the following year, 1971, the first official Conference was held at the same location. That same year also saw the founding of the non-profit Glass Art Society (GAS). Since then, the Society has welcomed members, facilitated the exchange of valuable information (on training opportunities, equipment, scholarships, etc.), organised study trips, and held its annual GAS Conference with member exhibitions, panel discussions, awards, and other activities. GAS also plays an important role in primary education, enabling glass artists to conduct workshops in interested schools as part of extracurricular programmes.

While remaining most active in the United States, the Society has always been open to artists from around the world, establishing itself as a truly global organisation. The first Lifetime Achievement Awards were, of course, given to Harvey Littleton and Dominick Labino, creators of the first studio glass furnace, but immediately after them to Sybren Valkema (Netherlands), Itoko Iwata (Japan), Erwin Eisch (Germany), Jaroslava Brychtová and Stanislav Libenský (Czechoslovakia) – artists of all nationalities who helped establish glass as an academic art discipline. More recently, particularly since the Covid-19 pandemic and the rise of online communication, GAS has increasingly presented itself as a global society.

Although the GAS Conference is usually held in the United States, seven of the 53 conferences to date have taken place abroad: Toronto (1989), Mexico City (1992), Seto, Japan (1998), Amsterdam (2002), Adelaide (2005), Murano (2018), and Berlin (2024).

Encounters with distinct cultures (Latin American, Japanese, Southern European) have often had a profound impact on participants’ knowledge and perspectives. Cesare Toffolo, an artist and host of the Murano, frequently remarked that many secrets of glassmaking would both leave and enter the island through the Conference. It was clear that the local masters recognised the importance of design, yet glass art as a concept was relatively unfamiliar to them. Canadian artist Catherine Gray recalled that when she first arrived on the island, the Murano glassmakers could hardly believe she was a glassblower – they could not imagine women blowing glass in Canada, as it was an exclusively male profession there.

Encounters with distinct cultures (Latin American, Japanese, Southern European) have often had a profound impact on participants’ knowledge and perspectives. Cesare Toffolo, an artist and host of the Murano, frequently remarked that many secrets of glassmaking would both leave and enter the island through the Conference. It was clear that the local masters recognised the importance of design, yet glass art as a concept was relatively unfamiliar to them. Canadian artist Catherine Gray recalled that when she first arrived on the island, the Murano glassmakers could hardly believe she was a glassblower – they could not imagine women blowing glass in Canada, as it was an exclusively male profession there.

a theter (lanac), rad Viktorije Amadizedej Melendez, staklo punjeno arganom i merkurijem; fotografija: Matthew Hollerbush; izvor: https://www.victoria-am.com/tether

Diversity of Artistic Expression in Glass

Cities wishing to host the Conference submit applications, and once a location is selected, a programme committee is formed for that year and site. The Conference programme is also shaped through an open call, meaning that people from around the world, not only GAS members, may propose panel discussions, demonstrations of their or others’ work, etc. The final selection is made by the programme committee, guided by a principle of diversity. Each Conference therefore provides insight into a broad spectrum of contemporary topics, artistic styles, and training, while supporting the professional development of contemporary artists and creative entrepreneurs. Dedicated to the comprehensive advancement of glass art, the Conference also offers programmes for students, gallery owners, collectors, glass materials and equipment manufacturers, business professionals, and the general public, especially children. Events take place across roughly ten venues, including public and private glass studios, galleries, cultural and educational centres with spaces of varying sizes and facilities, parks, and city squares – so that for four days, the entire city joins in celebrating the birthday of glass art.

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The Green Exhibition

Sustainable practices in glassmaking are promoted in a variety of ways. GAS offers carbon footprint calculators and a sustainability guide for crafts on its website. Since 2021, it has also held an annual Green Exhibition – a primarily online showcase that avoids the costs of transporting artworks, moving artists, printing catalogues, and so on. Conference programmes related to sustainability are symbolically marked with a leaf, making them easy for the audience to identify. In Detroit, a panel discussion explored different sustainable practices, such as using plant oils as studio fuel and selecting glass waste suitable for melting and blowing. In Berlin, an entire Green Pavilion was created – a dedicated space for the Green Exhibition, discussions on green resources, and glass furnaces that use recycled glass.

There were also numerous demonstrations showcasing innovative uses of various types of recycled glass, from discarded bottles to cathode ray tubes no longer used in televisions and monitors. From such tubes, Charline Foster has developed a jewellery production line, particularly chain necklaces that are quite difficult to craft. Ivan Bestari Minar Pradipta from Indonesia demonstrated how he transforms scrap glass into rods, which he then shapes into sculptures using a torch. His responsible approach to creation is gaining popularity as it requires no expensive equipment (no need for furnaces to melt and anneal the glass). Morgan Gilbret demonstrated how discarded glass can be slumped and reshaped in a kiln to create new objects. She solves the problem of not knowing the characteristics of the discarded glass, on which kiln programming and the successful execution of the work depend, by comparing that glass with the sheets of glass that she normally buys (Bullseye, Spruce Pine). Similarly, David King showed how recycled glass can be turned into sheets, which can then be cut, slumped, or used as decorative flat glass.

Blue Bottle, by Ivan Bestari Minar Pradipta, upcycled glass; image: Glass Art Society Facebook Page

Neon Signs

Neon signs have only recently been recognised as a fading tradition of handcrafted glass that deserves revitalisation. At the last two GAS Conferences, considerable attention was given to various techniques of hand-bending neon tubes. Alongside demonstrations by Kate Hash, Stephanie Lifshutz, and Victoria Ahmadizadeh Melendez, an entire day at the Detroit Conference was devoted to the work of The Neon Guild, a collective boasting over one hundred members.

by all means (i'm ok with being fine), rad Stefani Lifšuc (Stephanie Lifshutz) iz 2018., 6 mm prozirno staklo, neon, 28 x 8 x 2; izvor: http://www.stephaniesaralifshutz.com/neon

Glass in Contact with Other Materials

Combining glass with other materials has long been a challenge for glass artists. Achieving new interpretations of glass through its interaction with added materials requires specialised technical knowledge, particularly regarding material compatibility. At both the Detroit and Berlin Conferences, GAS highlighted the work of artists exploring glass combined with copper. Christopher Day, a British artist of African origin, politely shouts through his work. His glass, intertwined with copper wires and twine, examines the brutal history of slavery and subjugation. Marta Gibiete from Latvia similarly draws on her personal experience – growing up in a post-communist country – in her artistic practice of connecting glass with copper wire.

The Work of Christopher Day; glass, copper, and twine II photo: Simon Bruntnell, courtesy of the artist

Borosilicate Glass

Borosilicate glass is a relatively recent material around which an artistic community (boro workers) has formed. Slightly more expensive than ordinary soda-lime glass, it offers greater artistic freedom – some parts can be melted and shaped while the rest of the piece remains solid; components can be joined more easily; and it is less prone to breakage. It is also clearer than standard glass, making it ideal for works in white (clear) glass. Sibelle Yuksek uses thin borosilicate tubes to create fairly large figures. She combines slow blowing of these tubes with flamework. The process is time-consuming but produces exceptional results, such as one of her Ladies figures, which featured on the cover of the GAS Conference programme in Detroit. In Berlin, Simone Crestani created one of his Alchemica bottles, part of a collection that ironically reinterprets laboratory bottles, test tubes, funnels, and cylinders – the first vessels made from borosilicate glass, dating back to before World War I.

Alchemica bottle by Simone Crestani, borosilicate glass, 15 cm diameter, 26 cm height; photo: courtesy of the artist, https://www.simonecrestani.com/store/Alchemica-Bottle-p168658363

Glass artist collectives form around current themes, such as the role of women in glass art, as well as specific techniques and tools. In Detroit, the duo Sally Prasch and Mark Vanderburg demonstrated the use of a glassblowing lathe. This machine holds a piece of glass and rotates it at a constant speed, allowing the glassblower to focus entirely on shaping it with various tools and heat sources. Typically used in technical glass production, the lathe provides greater control, precision, and consistency than manual rotation. Both artists have been using this technique since the 1970s and believe it will increasingly become standard equipment in artistic studios.

The Berlin Conference devoted considerable attention to cold glass techniques – etching, sandblasting, engraving, cutting, etc. The event opened with a demonstration by the international artist collective The Lathe Riders (with only one of the fifteen members from outside Europe). Anne Wenzel and Ioana Stelea from Germany showcased glass engraving using a 19th-century foot-powered lathe and a 20th-century lathe. Preserving the technique in its purest form, Jára Šára from the Czech Republic demonstrated work on a lathe over 150 years old. An Engraving and Cutting Exhibition also took place, highlighting new methods of engraving and cutting with recycled glass. Organised in collaboration with the emerging European Glass Engraving Network, the exhibition underscored how engraving and cutting remain integral to the European tradition of handcrafted glass.

Detail of the vase “Saint George and the Dragon,” by Jára Šára, handblown and engraved glass; source: https://www.jarasara.cz/

Images on Glass

Several seminars at the last two GAS Conferences were dedicated to techniques for applying images onto glass. Drawing on her own work, Brenda Page demonstrated how to imprint an image into the glass itself using screen printing, rather than merely placing it on the surface. Stephanie Moyerman and Steven Ciezki explained stencil techniques, 3D polymer powder printing, sandblasting, CNC laser engraving, thermal enamel fusing, and other methods. Chuchen Song presented the traditional grisaille technique (monochrome enamel painting), which she uses most frequently, alongside newer methods such as screen printing, laser engraving, and digital tools that are particularly useful in these processes.

Self Portrait: Wingspan, 2018, by Steven Ciezki; oil on blown and sand carved glass, diameter 16.5" x depth 1.5"; image: courtesy of the artist, https://www.stevenciezkiglass.com/drawings-on-glass.html

Digital Innovations in Glass

3D modelling software, 3D printers, and CNC machines have become increasingly popular among glass artists. Brian Gillespie, a programmer and artist, demonstrated how to sketch, model, render, and print a mould for shaping glass. This process reduces the cost of designing and producing moulds from iron, bronze, or graphite, which are essential for larger production runs. James Labold also showcased his workflow for creating a 3D model and translating it into the medium of glass (3D scanning, modelling, and printing), culminating in blowing glass into the printed mould.

At the Detroit Conference, notable attention was given to the Australian company Maple Glass Printing, which produces a 3D glass printer. They claim it is the first commercial printer of its kind, as others are still in development. Their printer, capable of melting scrap glass (recycling it) and printing glass objects, currently weighs around 200 kg. They anticipate soon offering a desktop version capable of printing pieces approximately 30 cm in height.

Work by Sibelle Yuksek, from the Ladies series, borosilicate glass; on the cover of the GAS Conference programme, Detroit (2023); source: Glass Art Society

Jin Won Han and Catie Newell shared their insights into CNC machines, which can be used to create moulds, engrave glass, or cut very thick glass – innovations that enable the creation of artworks previously thought impossible.

 

Many artistic demonstrations are held purely for the sake of their artistic merit, independent of trends. Among these were Jack Gramann, known for his blown portraits and sculpted glass ribbons; Ned Cantrell, recognised for his replicas of inflatable toys; and Charlyn Reynolds, who translates her imaginary worlds into reality by creating hybrid glass animals.

 

Alongside these programmes, each GAS Conference hosts numerous exhibitions, such as the aforementioned Engraving and Cutting. In addition to the regular exhibition of Society members’ works and the best student pieces, the Conference committee organises shows inspired by local contexts (contemporary art scene, glassmaking heritage, etc.) and collaborates with local institutions (museums, galleries, and art schools) to highlight their glass collections and enhance the overall Conference experience. Private glass studios also open their doors to the public, presenting a variety of events and programmes.

Paralelno sa ovakvim programima, tokom svake Konferencije GAS održavaju se brojne izložbe, poput spomenute „Graviranje i rezanje“. Uz redovnu izložbu radova članova Društva staklarske umetnosti i izložbu najboljih studentskih radova, odbor Konferencije priređuje i izložbe inspirisane lokalnim prilikama (savremenom umetničkom scenom, staklarskim nasleđem i sl.) i sarađuje sa lokalnim organizacijama (muzejima, galerijama, umetničkim školama) kako bi njihove zbirke stakla bile stavljene u prvi plan i pojačale doživljaj i efekat Konferencije. Privatni staklarski ateljei takođe otvaraju svoja vrata za publiku i priređuju različite programe.

Work by Marta Gibiete, glass and copper; image: courtesy of the artist, https://www.martagibiete.com/work

During each GAS Conference, around twenty lectures and panel discussions are held. In the past two years, these presentations have covered a wide range of topics – from specific artistic techniques (e.g., combining papier-mâché with glass paste in the works of Saman Kalantari), to the outcomes of various projects, historiographical research, and explorations of software solutions (e.g., Fusion 360), as well as strategies for selling art glass, which were presented by Meghan Bunnell, a buyer for the Corning Museum of Glass shops.

The Glass Art Society (GAS) Conference is clearly an event that, with its hundred or so programmes and over a thousand participants, cannot easily be captured or summarised. While there are many conferences and festivals in the United States dedicated to glass art (e.g., Refract in Seattle, which has been highly successful for six consecutive years), GAS remains the most significant because it reflects the current interests and needs of hundreds of American glass artists. As GAS increasingly presents itself as a global society and international communication expands and intensifies, the Conference holds great potential for showcasing contemporary glass art from Latin America, Africa, and Asia, creating numerous opportunities for intercultural dialogue, exchange, and the development of glass artistry worldwide.

References

This text was produced within the framework of the project Preparation of a Preliminary Technical Assessment for the Protection, Preservation, and Revitalization of the Paraćin Glassmaking Industry. The views, findings, and conclusions expressed herein are those of the author and do not necessarily reflect the views of the Embassy of the United States of America.

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