An Exhibition featuring RED
Greg Fidler, Irene Frolic
Tanya Lyons, Jeff Mack,
Markian Olynyk, Marlene Rose,
A chance meeting with Dale Chihuly in November 1988, crystallized into him opening my gallery in the Exchange Tower in May 1989. From the beginning, it was meant to be; initiating a 23-year professional collaboration and friendship that has enriched the Canadian art landscape. It has been my honour to present Chihuly's work and to mark every gallery milestone with him.
In September 1999, I opened an exhibition of his large-scale installations in the Exchange Tower on the eve of his Chihuly in the Light of Jerusalem exhibition in Israel.
I followed that with a spectacular gallery opening in the historic Distillery District in November 2002.
In June 2005, I was delighted to be one of the first galleries to exhibit Chihuly's new seriers of work, Mille Fiori, in the Distrillery Gallery.
And now with my latest gallery venture, partnering with Chihuly again, we unveil artwork bringing a new energy to my space at The Warehouse Gallery.
Philip Baldwin and Monica Guggisberg are vessel-makers, and it is vessels, in all the permutations and possibilities, that are at the core of the Boats series. While Baldwin and Guggisberg do not exclusively make vessels, any survey of their work will show them as amongst those contemporary sculptors in glass who regularly explore glass's long relationship with functionality, who work as heirs to the great tradition of the creation of objects for everyday use. If they are heirs, and if they are interested in acknowledging the forms - especially the vase - that have intrigued artists who work in glass for the last several thousand years, they are heirs who seem driven both to echo and extend.
Part of what draws sculptors to glass as a medium is its special relationship with light and colour, and Baldwin and Guggisberg have well leaned the poetics of its many mysteries and possibilities. Light not only illuminates the exterior of a glass sculpture, as it would one made of bronze or marble, it can enter glass and often passes through it somewhat changed by that journey, and glass can be fabricated in every nuance of translucence between opaque and transparent. And colour. It is one of the most curious traditions of Western art that sculpture is usually left in the colour of its material, presented in pallid tones of marble and stone or the ruddy browns andoranges of bronze, etc. But glass can be coased into any shade at all; it is the painter's palette in three dimensions, and Baldwin and Guggisberg in the Boats series employ colour to make their vessels cluster in tonal families. These artists assign colour so that their boats are only rarely grab-bags of disparate hues; they prefer to focus on a particular chromatic theme or rapport.
James Yood an excerpt from Baldwin Guggisberg Beyond Glass
The Sandra Ainsley Gallery is pleased to present an exhibition of artist Greg Fidler's Bowing Series. Greg is inspired by the natural form, and has created this series to embody balance and elegance. The submissive gesture of the form displays a humility and surrendering of the medium. Greg Fidler will be in attendance.
The exhibition is by appointment only and located at Dupont and Davenport.
This is our first exhibition since we have moved out of our Distillery District location, please come and meet the artist.
Opening Reception: Saturday, May 30th, from 2:00 - 5:00 pm.
Show Dates: Saturday, May 30th - Friday, June 26th, 2009
Exhibition Hours: By appointment only. Please call 416-214-9490 or email at email@example.com
The upcoming exhibition of artist Bennett Bean's new body of work will include his rich, gilded vessels and wall pieces alongside his exceptionally artistic rugs. Bean's power as an artist rests with his extraordinary ability to choreograph dazzlingly colorful abstract patterns as they dance across the outside surfaces of his delicately hand-formed vessels and wall pieces. A heightened sense of drama is achieved by his choice and application of 24K gold leaf, thereby creating a contrasting glow that warms and delights the eyes of the beholder. Similarly, Bean's rugs are the product of complementary and contrasting design and rich motifs. The rugs are the product of four years of explorations and interactions between an artist's sensibility, computerized design and printing, and the Tibetan rug making tradition. The resulting series of rugs and carpets blend elements of contemporary imagery with ancient knotting techniques. Using Tibetan wool from Ngari, tied at 100 knots per square inch, the result is a luxuriant surface with an excellent clarity of detail.
This spectacular glass garden was created originally for exhibition at the Musée Magnelli, Musée de la Ceramique. Dale Chihuly's exhibition at the museum Chihuly in Vallauris, Wonders in Glass in 2007 was a culmination of the many elements and forms he has worked with over the past 40 years of his stellar career .
Incorporating a multitude of media in his sculptures and wall pieces, Joseph Rossano is reflecting on our relationship with our natural environment. Having grown up spending time on the CatskillsMountains, Rossano draws inspiration from both historical and natural sources. The fragile, glass animals, perched up against a black and white landscape on a cedar background, are suggestive of the growing need for society to guard the wilderness and subsequently prevent both ours and the environment's disappearance. As a master glassworker and woodworker, Rossano has created pieces that are nostalgic for fading traditional craft and tools. The duality of juxtaposing these crafts with photography into a cohesive whole is symbolic of society's connection with the natural world.Under our present conditions, Rossano is creating awareness of our heightening codependence with nature."Everything White" focuses on the polar bear and its glacial surroundings- and simultaneously refers to the consequences of nature's continued exploitation.
Sandra Ainsley Gallery proudly presents a solo exhibition featuring sculpture and photography by New Brunswick artist, Peter Powning.
Winner of the 2006 Saidye Bronfman Award (now a Governor General Award), Canada's foremost distinction for excellence in the fine crafts, Powning is an internationally-renowned artist in full stride.
Using a range of materials for his work, Powning presents a cohesive exhibition of large-scale outdoor sculpture and pedestal-sized pieces in bronze, stone, glass and steel complemented by his sensuous photographic "Waterbook" series.
Powning juxtaposes raw and industrial materials with glass, creating a discourse of strength and fragility in his work.Furthermore, by placing his sculptures outdoors, Powning has added a complexity and richness to the sculpture that time and sitting improve upon.His work becomes artifacts that evolve and withstand.
The "Waterbook" photographic series once again suggests the force of the natural elements. Using books as his subjects, Powning depicts the delicate pages submerged in water, or burnt so slightly as to keep the form intact. He then captures the fleeting beauty of the books' destruction.
Sandra Ainsley Gallery presents an exhibition featuring two internationally recognized artists: Jon Kuhn and Paul Stankard.
Through a painstaking process of cutting, grinding, and polishing glass, Jon Kuhn creates highly integrated sculptures suspended in optical glass.The result is an awe-inspiring diamond-like quality that reflects and refracts surrounding light.
Paul Stankard is best known for creating impossibly life-like depictions of flora and fauna encased within crystal.Transforming the traditional paperweight, Stankard's forms contain tiny insects, blossoming flowers, and out-stretched branches with a realism that deceives the eye.
Together, Kuhn and Stankard will be showing new and exciting bodies of work exemplifying their craftsmanship and the beauty produced by their fascinating techniques. The centerpiece of the exhibition will be a collaborative piece that reveals the true talent and expertise of these masters of their craft.
Sandra Ainsley Gallery is proud to showcase the conceptual installations of Montreal artist, Tanya Lyons.Lyons combines natural and found objects with clear glass elements to create compositions that resonate with meaning and reflect on moments in time.This exhibition of her latest work, which ranges from small hand-held objects to large indoor and outdoor sculptures, allows for an intimate look at the artistry and notions embedded in her craft.
…to Survive is a reflection of society, the state of our minds and our quality of living, forming a personal comment on the material objects and immaterial ideologies that make up our existence.
I have created a variety of freestanding sculptural forms and hanging, wall mounted installations representing an introspective look at societal possessions and the alternative necessities for survival.
Sandra Ainsley Gallery is proud to exhibit the unique work of internationally renowned Japanese artist Hiroshi Yamano.
Yamano received his education attending such prestigious schools as the California College of Arts and Crafts and the Tokyo Glass Art Institute in the mid-1980s. He then went on to instruct at the Pilchuck Glass School in Washington State and the Grand Crystal Museum in Taipei.
The artist is best know for his life-like fish, which are draped and suspended over colourful and fluid blown bowls and discreet metal hangers. Upon closer inspection, entire schools can be found etched on the vessels, swimming with their glass counterparts and adding further depth to each work. Yamano's technique and style gives full meaning to his latest grouping of works entited Nagare, which means flow or current in Japanese.
On Sunday November 11, 2007 Yamano will be demonstrating his skills at Harbourfront Centre.
Please contact gallery for opening night inquiries
Sandra Ainsley Gallery is proud to exhibit the distinguished work of ten internationally recognized Czech artists working in glass.
Czech artists are best known for their work in casting however, recently they have also been influential in the development of painting, cutting, and large-scale installations in glass.The artists featured in the show include: Blanka Adensamová, Bohumil Eliáš, Jan Frydrych, Ingrid Glaserová, Tomáš Hlavička, Josef Marek, Jaromír Rybák, Ivana Šrámková, František Vízner and Jaroslav Wasserbauer.
For some time now our work has run in multiple directions. We have always remained consistently devoted to a classical "vessel" form, using this object as our primary source for exploring colour, cut, pattern, shape and subtleties of light. Twelve years ago, we began experimenting with the vessels - pulling them, stretching them, bending them and playing with their linear motion. From this was born our "guardian" and "courtesan" standing pieces.
Three years ago we embarked on a whole new body of work, the "Circus of Spheres", based on the simplest and most ubiquitous of universal forms; the sphere. Combined and strung like pearls on undulating metal strands, this process allows us to explore glass as free-form sculpture. We are neither limited by size or shape and remain reverentially associated with all that we know and love in glass. Whether blown hot or cut cold, it can be combined into stories, ideas, and themes from the world around us.
The line from a simple vessel to a piece like "The Gateway" traces a journey, with a kind of musical score - an operatic story of our two lives in glass. There are high notes and high drama - a true theatrical ambiance - with dialogue, laughter, surprise and spectacle. The opening of this exhibition will mark twenty-five years and four days since we began blowing glass in our own studio. It's a celebratory moment, and we are delighted to make this celebration in Toronto with our dear friend Sandra Ainsley.
Alex Gabriel Bernstein's work is a bold and refreshing exploration of visual form and story telling.Bernstein skillfully combines metaphor through the impact and optical quality of glass.His powerful cast and cut sculpture applied with fused steel is deliberately ambiguous and aims to trigger our thoughts to nature on both a macro and micro scale. Abstracted yet representational, his work evokes myriad textures and surfaces, from jagged canyons to rippling water.
For this exhibition, Bernstein aims to unite two distinct themes into a single body of work.The first topic explores the energy of growth and expansion within the natural world.The emphasized verticality of the pieces highlight the theme of growth and gives his work an active quality.The second theme is more introspective.He has deliberately incorporated colourful passageways throughout the heavily carved works.Bernstein invites the viewer to 'journey' through the space of his sculpture and discover the cavernous depth of its material.
Katherine Bernstein will exhibit six sculptures alongside her son, Alex. Katherine has been a glass artist for over thirty years and works closely with her husband, William Bernstein. For this exhibition, Katherine and Alex have combined their talents to produce a piece of art that showcases their distinct styles.
The Sandra Ainsley Gallery is delighted to present new works by glass artist, Beth Lipman.
Comprised of clear, hand-sculpted glass, this evocative show offers a refreshing and contemporary spin on the tradition of vanitas ("still life") painting popularized by Dutch Baroque artists during the 17th - 18th centuries.
While the still lifes of old depict objects in the round within a two-dimensional space, the vitreous fruit, animals and miscellaneous items of Lipman's still lifes are tantalizingly three-dimensional. What was consumed by the eye is now a water-filled goblet ready to be sipped. And yet, tangibility remains out of reach. Colourless and inorganic, the still life persists as an illusion. Sight is superceded by touch as the object is distilled to its essence of form and shadow.
Accompanying Lipman's glass still lifes are a series of chromogenic reproductions of the sculptures themselves. After constructing the physical objects, photographs are taken of each piece. These images are subsequently scaled to the objects' actual size. The glass is then either destroyed or recycled. The object is once again defined by the image as the glass becomes inaccessible and unattainable.
The Sandra Ainsley Gallery invites you to attend the exhibition as it promises to delight, bemuse and inspire.
Sandra Ainsley Gallery collaborates with the Australian Trade Commission to present an exhibition of Australia's most influential, evocative and internationally acclaimed glass artists. As the most complete representation of contemporary Australian glass ever to be exhibited in Canada, Australian Glass 2006 promises to feature the country's most renowned masters and innovative newcomers.
In the past decade the Australian glass movement has broadened its presence as a progressive and creative force in the international glass arena.Its global critical acclaim has deemed Australia a hot-bed for the evolution of glass as an artistic medium of refined surrealism and breath-taking beauty.Although the chronology of modern Australian glass can be traced back to the 1970's, its present day practitioners rely less on the natural fluidity of blown glass and more so on the adapted European disciplines of cold-working and sculpting the blown form.
With creative inspirations varying from that of red earth that composes the Australian landscape to the simple joy of the creative process, this brilliant group of artists unite to represent their nation through the wondrous nature of their medium.
Sandra Ainsley Gallery is pleased to present the award winning work of international glass artist Peter Powning.
"My work is meant to have the feel of the artifact. An emotional artifact made solid. A cultural artifact from some future or past, that is reconstructed or guessed at."
Since 1970, Peter Powning has lived and worked as an artist in the hills of southern New Brunswick. Powning's remarkable work is imbued with qualities distilled from a life lived close to the silence, space and seasonal rhythms of his home, the fields, forests and shorelines of Canada's east coast. Powning works in mixed media, including bronze, stone, raku clay, glass, and various metals.
Sandra Ainsley Gallery is proud to exhibit the renowned work of international glass artist Latchezar Boyadjiev.
Known for large-scale cast glass sculpture in dramatic shapes and vibrant colour, Latchezar commands global attention with his bold cutting-edge design.His inspired creations are cast in the CzechRepublic where he is able to select the most precise glass colour and desired consistency.Latchezar then sandblasts and completes each piece at his California studio.Latchezar'ssculpture can be found in private and public collections around the world, including Eastern Europe, South America, and throughout North America.
"twelve hundred degrees" is an exciting exhibition of glass work from the graduates of Canada's preeminent glass program at SheridanCollege.The show boasts a broad range of technical applications including blowing, kilnworking, hot casting, flameworking and coldworking.From the functional to the sculptural, the students' works demonstrate superior skill, diverse aesthetic styles and a dedication to the material of glass.
For almost 40 years SheridanCollege in Oakville, Ontario has been nurturing artists in the disciplines of glass, clay, fibre, and wood.Sheridan's program is hailed as one of Canada's finest for Craft and Design, and many of its alumni have achieved national and international prominance.
Located in the Historic Distillery District, Sandra Ainsley Gallery represents the works of major contemporary Canadian, American and Internationally recognized artists working in glass and mixed media.Sandra Ainsley has focused on building enduring relationships with a world-class roster of artists, while continuing to search out and develop some of the very best emerging talent.
Exhibiting Artists:Beth Bennett, Nicholas Chase, Marcia Christie, Kasia Czarnota, Cheryl Dunsmore, Tara Gilchrist, Julia Hillyer, Izik Levy, Meg MacKenzie, Einav Mekori, John Raynard, Andrea Ripley, Daniel Sullivan, Paula Vandermey, Mariel Waddell, David Williamson.
Also opening on May 4 in the Distillery are the graduate shows for:Furniture at fluid living; Ceramics at distill and Textiles at Arta Gallery.
Artist Lecture: Saturday April 08, 2006 at 5:00 pm
Reception: Saturday April 08, 2006 from 6:30 - 8:30 pm
Sandra Ainsley Gallery is pleased to announce two concurrent exhibitions with internationally renowned glass masters, Jon Kuhn and Paul Stankard.
Jon Kuhn will showcase his most recent work. On exhibit will be his signature diamond-cut glass cubes, circle forms, and crystal optic table.Jon Kuhn's work can also be seen at the National Museum of American Art, Washington, Musee Des Arts Decoratifs, Switzerland, and Museo Del Vidrio, Mexico.
Paul Stankard will exhibit the newest in his series of floral paperweights.With organic interiors meticulously created in glass, these pieces are an intricate marvel. The Palais du Louvre, Paris, Hokkaido Museum of Modern Art, Japan, and The Art Institute of Chicago are just a few of the numerous places Paul Stankard's work can be found.
Both the works of Jon Kuhn and Paul Stankard can be found in The Metropolitan Museum of Art and The Royal Ontario Museum, in addition to being in private and permanent collections across the Americas, Asia, and Europe.
Sandra Ainsley Gallery is pleased to announce an exciting exhibition of new work by Seattle-based artist Martin Blank.The opening event will take place on Thursday March 9, 2006 from .During the event, Martin Blank will perform a drawing demonstration using life models as inspiration.This is a unique opportunity to view the artist within the creative process.
Blank has admired the grace and flow of human form since childhood, digging into clay at the Boston Museum of Fine Arts at age 13.After earning a BFA from the Rhode Island School of Design in 1984, under the tutelage of Richard Harned, Blank trained with Dale Chihuly. There, he earned a place as an integral part of that team for 11 years before opening his own studio.
For this exhibition Martin Blank presents his latest series, 'Mirroring Abstract Forms'.This body of work uncovers Blank's personal evolution from the basic study of form and motion to a sensual dance with textures, shapes and energy that reflect the subtle, yet powerful resonance of human landscapes.Blank is quickly emerging as one of America's most significant figurative sculptors and his work is exhibited in museums and personal collections worldwide.
"I would call myself an intuitive artist rather than a conceptual one.I work on the way forms relate to each other to cut a line in space that flows, turns and carries the eye around the piece."
Blank's work is on display in galleries throughout the United States and featured in international exhibitions including the MillenniumMuseum in Beijing, China, the Shanghai Museum of Fine Art and the American Embassy in Slovakia.In 2001 he created the Bill and Melinda Gates Foundation "Access to Learning Award" for the recipients in Finland, Argentina, and Guatemala.In July of 2003, Honolulu Academy of Art acquired a Martin Blank sculpture for their permanent collection. For further information, please contact the gallery.
Sandra Ainsley Gallery celebrates its third anniversary in the Distillery Historic District with the Canadian premiere of Mille Fiori, an exhibition of new work by renowned U.S. glass artist Dale Chihuly. The exhibition will also highlight baskets and seaforms dating back to 1978 from Chihuly's personal collection.
Mille Fiori, Italian for 'a thousand flowers', is inspired by the organic shapes of exotic flora. The exhibition features four individual fiori, three larger fiori platforms, a chandelier, drawing wall and numerous small and medium sized setworks, resulting in a glass garden of bold and unexpected forms that are rich and vibrant in colour. This exhibition revisits and refines many of the forms and techniques that have appeared throughout Chihuly's career. These styles have been used in his outdoor exhibitions in Finland, Venice, Jerusalem and in Chicago's Garfield Conservatory. Combined with exciting new elements, he has created spectacular installations that are described as true gardens of glass. Mille Fiori was initially exhibited at the Tacoma Museum in Washington state and the Marlborough Gallery in New York.
Chihuly's work is included in more than 200 museum collections worldwide including the Metropolitan Museum of Art, New York, the Musee des Arts Decoratifs, Palais du Louvre, Paris, the Victoria and Albert Museum, London and the Corning Museum of Glass, Corning.
Sandra Ainsley Gallery presents new work by American artist Bennett Bean. Porcelain and encaustic paintings, Tibetan-inspired rugs and Bean's signature decorative ceramic vessels will be displayed in the gallery.
The central core of Bennett Bean's work is ceramic vessels, which are richly coloured in acrylic paint and embellished with gold and transparent glazes. Bean's 'new wing series' shows his latest explorations in this form and experimentation with the application of new decorative patterns.
Bennett Bean's new rugs blend elements of contemporary imagery with ancient knotting techniques. His porcelain and encaustic paintings use Chinese paper offerings, which were designed to be burned at graves in order to provide on'e ancestors with items they might need in the afterlife (such as paper replicas of money, clothes and cars.)
Bennett Bean's work is displayed in numerous permanent collections such as, the Whitney Museum, New York, the Smithsonian Institute, Washington, the Royal Ontario Museum, Toronto and the Boston Museum of Fine Arts, Boston. Bean has had solo-exhibitions at the Jewish Museum, San Francisco, The White House Collection of American Crafts, Washington, the Toledo Museum of Art, Ohio and the National Museum of Ceramic Art, Baltimore.
Please contact the gallery for further information.
As an artist I manipulate form and content through my work, drawing inspiration from both historical and natural sources. My most recent works combine ancient Douglas Fir or Western Red Cedar with sculpted glass, found objects and photography created using antique camera equipment. Throught the combination of these varied media, I seek to express the ephemeral and sometimes fragmented quality of our human experience and our relationship to the natural world.
My iconography is inspired by my experiences within nature which began with childhood visits to my uncle's farm in the Catskills Mountains. Objects relating to activities such as beekeeping and water witching reflect my nostalgia for the fading traditions and crafts I first experienced as a child. For the last dozen years I have lived in the pacific north west and have developed an affinity for the rugged beauty of its temperate rainforests including its world-class trout rivers. The waning arts arts of fly tying and bamboo rod making are two crafts I practice which also play an important role in my visual art. Additionally, handcrafting tools help me feel a connection with the natural world and develop a sense of place within the landscape. In this way the images and objects within my compositions reflect both a personal sense of creation and a longing for a time when a connection with nature was more a part of our daily existence and industry of survival.
Throughout my artistic life, I have been fortunate to work closely with highly accomplished artists including William Morris, Dale Chihuly and Dan Dailey. Each of these individuals has contributed something to my technical development and appreciation for the formal elements of art making. Most recently I have operated in a creative position with Waterford Crystal to infuse new artistic sensibilities into their traditional forms and techniques of glass-blowing and cold working. As with any collaborative process my aesthetic sensibilities are consequently inspired by my appreciation for the artistry and its focus on visual clarity and elegant formal properties.
Sandra Ainsley Gallery is pleased to announce a special showing of new work by Americn artists William Carlson and Steven Weinberg and French artist, Antoine Leperlier. Carlson exhibits his wall pieces, while Leperlier and Weinberg display pedestal pieces.
Carlson's wall pieces consist of small glass and metal elements that are grouped together to create a larger form. His sculptures show concern for issues such as interior space, geometry, texture and colour.
Antoine Leperlier explores themes of memory in his pate de verre sculptures. For Leperlier, glass is a substance of memory and he inscribes words into his sculptures, which are linked to the idea that an object can contain a memory within it.
For Steven Weinberg art has always been about gaining control over his environment. He finds peace in the process of making art juxtaposed with the uncertainty of everyday living. His cast glass sculptures often assume the shape of vessels, reflecting Weinberg's life by the sea.
Alex Gabriel Bernstein grew up amidst the American Studio Glass movement - both his parents are established glass sculptors and instructors. However, Bernstein was always encouraged to diversify his interests outside of art. As a result of his fascination with the human condition he studied psychology at university and later worked in a children's psychiatric hospital. Bernstein continued working in a glass studio and in 2001 he completed his MFA in glass sculpture from the school of American Crafts at the Rochester Institute of Technology. Bernstein still explores his interest in psychology and human emotion through his sculpture. He believes that art captures individual perspectives and is a personal form of communication.
Bernstein has experimented with almost every type of glass making technique. The works on display at Sandra Ainsley Gallery are primarily bullseye and cast glas that is cut and carved. Rusty steel is often used to add an additional layer of surface texture and intertwine with the colour of the glass.
Bernstein uses the metaphor of a poet to explain his work. "A poet does not write the same poems, but they might use some of the same vocabulary in different poems. This is true with my sculpture. With every piece I make, I try to create something new and different, keeping some techniques constant yet still exploring other variables. I have developed a distinctive stye - my work looks like "my work" but I am still pushing and changing it in hopes of keeping it fresh, new and interesting." This constant re-examination of his own work has made Alex one of the most significant sculptors of the next generation of glass artists.
In each of the mysterious living icons that the artist Steve Linn presents he narrates his own history of his art. He tells the story of a creator who has known how to draw upon the best of two cultures on either side of the Atlantic; he also-seemingly unintentionally-provides a summary of the history of sculpture, ceaselessly reinventing with pieces of wood, bronze and glass. What I appreciate in Steve Linn's art is this boldness and freedom of imagination that I associate with his American citizenship. I admire his determination to use three different traditionally seperated materials; I know that his reasons are more personal than theoretical for working in wood, which he learned from his father, adding to this, bronze, a classic technique normally learned in art school, and finally glass, whose high technology requires quasi-industrial facilities.
This new body of work uses water as a metaphor to illustrate the ever-present alchemy of our existence. Water is the essence of life. In its duality, water is extremely powerful - crashing and yet, also, calming; we cannot live without it. The work explores the different states of being within water. It touches on how we flow through our lives striving for a state of grace and beauty. Our bodies are 98% water, yet we still have a need to ground ourselves. In many ways we are between states, part spirit and part matter, part liquid and part solid. I sought to use the lyrical dance of light, space and color to explore and manifest these ideas in glass and photography. Having grown up around water, I have always had a personal affinity towards it. When I dive into any body of water I immediately have an intense and profound sense of joy and wonder. Both water and glass have an amazing ability to reflect and refract light. Their prismatic qualities display the infinite patterns of nature in exquisite variety. These reflections illustrate the organic order in nature that is defined by the divine mathematical proportion of the golden mean. Further examples in water can be seen in the hollow curl of a wave or the rhythmic distance between ripples on a lake. Journalist, Steve Hawk, sums up these sensations beautifully in the film, Stepping into Liquid: The wave is a unifying force in the universe. There are light waves, sound waves, and ocean waves are the only form in which they are at a human scale. They move at a speed about as fast as we run. They're in this beautiful medium- the Ocean. All it takes is one wave, not even that, one turn, you know, just a moment. It keeps pulling you back to have another moment. It never ends. Space and distance are just as critical as matter. Every atom in the world is empty. All our cells have a nucleus, but they are mostly space. Through my sculpture, I've tried to capture this space in between and illustrate the importance of what is inside of us, as well as the energy that exists between two people when connecting with each other. These thoughts are represented in the hollows of the sensual forms and the ways the light shifts through them changing the hues of the color and the colors themselves. The sculpture Embrace encapsulates this concept best, as it encompasses the space in between as well as different shades of blues and greens shifting through each other. It illustrates my kaleidoscope theory of color and its infinite variations representing the layers and complexity of each individual self as well as our relationships towards each other. Embrace is the coming together of two selves making/sharing a third in the transition of the two colors and forms. The Legend of the Baal-shem describes infinity as "its end is already contained in its beginning, and a new beginning in its end." Therefore, one might find infinity in the space in between by simultaneously listening to the passionate songs and the stillness that lie within. For me, this is the exquisite mystical beauty of life contained in every drop of water and every breath we take. As an artist, I infuse each piece with elements of these concepts. Each viewer brings his or her own experiences, so my thoughts are only meant as an addition to how the audience sees the work. Above all, I want the viewer to EXPERIENCE the work- to feel it and find a moment of peace or beauty. The highest goodness is like water. Water benefits all things and does not compete. It stays in the lowly places which others despise. Therefore it is near the eternal. -Tao Te Ching http://www.taliaferrojones.com/between
Sandra Ainsley Gallery presents Thomas Mann
and his jewellery in an exclusive one-day
Valentine’s themed trunk show
Toronto, ON.-January 4, 2005-Sandra Ainsley Gallery is proud to announce the exclusive Toronto appearance of Thomas Mann Saturday February 12, 2005. Mann will appear at Sandra Ainsley Gallery from 12:00-5:00PM, speaking to and assisting clients with new pieces of his one-of-a-kind, limited edition and techno-romantic jewellery. Also featured at the trunk show will be Mann’s small sculpture, clocks and unique hand made mirrors. Sandra Ainsley has represented Thomas Mann exclusively for twenty years and clients are welcome to bring their previously purchased jewellery for him to sign. This is also a rare opportunity to have the artist sign a copy of his book Thomas Mann: Metal Artist.
Mann trademarked the term techno-romantic in 1984 to represent the collision of human sensibilities with technology. This collection is most notable for Mann’s creative interpretation of the heart shape and subsequently his pieces are perfect lasting and contemporary Valentine’s Day gifts. The jewellery illustrates unique collage and assemblage techniques, inspired by Mann’s admiration for Marcel Duchamp, Max Ernst and Pablo Picasso. Mann views jewelry as “a medium, of artistic expression akin to that of painting or sculpture,” which is clearly reflected in his multimedia work.
Thomas Mann has been creating jewellery since the early 1970s, when he began working with contemporary metals. In the late 70’s he “eschewed the use of precious metals or gemstones concentrating solely on found or alternative materials”. He was “determined to have the work of the imagery and meaning encompassed in [the jewelry] rather than the perceived intrinsic value of the materials employed in its making”. The result is stunning, unique jewelry, which is playful and elegant, delicate and bold.
Mann’s work is displayed in over 250 galleries and boutiques worldwide, including the newly inaugurated Clinton Presidential Library, the Smithsonian Institute, the AT& T Collection and many private collections. Mann lives and works in New Orleans, where both his studio and gallery are based, and regularly exhibits at premier craft events across the United States.
As a graduate student in architecture at the University of California at Berkeley, John Lewis was introduced to blown glass by Professor Marvin Lipofsky. Lewis founded the first private hot glass studio in California and later received his MA in design in 1970. His early work in blown glass led to an interest in glass casting. With the help of an NEA grant, he built an experimental facility to explore the possibilities of cast glass. At his state-of-the-art casting studio in Oakland, CA, Lewis designs and produces cast glass sculptures, tables, vessels and site specific architectural projects. He has completed numerous commissions for private and corporate clients and is represented internationally by galleries.
The Glass Casting Process
There are three main types of casting done at John Lewis Glass: pouring, spinning and pressing.
The most basic form of casting glass is the straight gravity pour. This is done using an open face mold, typically made from graphite, steel or cast iron. One side of the cast piece always yields a smooth, rounded edge signifying the “pour side” of the piece. We typically do counter tops, table tops and wall panels with this process.
The next method by which we may create a piece is with centrifugal casting. Many of our vessels and sinks are cast using this method. The glass is poured into a graphite mold which is mounted on a centrifuge. The mold is set spinning once the desired amount of glass is poured into the mold. The force of the spinning causes the glass to rise up the sides of the mold. This causes the glass to take the shape of the mold wall on its exterior side, while having a smooth interior wall.
Lastly, pressing glass is done by mounting a two part mold on a two ton press. Glass is poured into the bottom half of the mold and then placed under the plunge section of the mold. The arm of the press inserts into the first mold part and the glass is displaced into the desired shape. The latest example of such pressings is the Lookingglass Theatre Company’s street sign and sculpture in Chicago, IL.
In my work, I create figures from sequences of stone and glass. The figures rise up from the external landscape where I live, a place filled with remnants of stonewalls and glacial erratics. I gather stones from quarry rubble and from New Hampshire neighbors who allow me to choose stone from their land. The glass portions of the sculpture are combined with these found stones suggesting human figures. I try to choose rocks that evoke the feeling and gesture of human forms, specifically torsos and heads. I will look for a flat rock with a curved edge and a tapering form to suggest torsos or the triangulation of a stone with a cleft that may hint of a head.
I do very little to the stones in the process of making sculptures, perhaps chiseling or cutting a bit, instead I seek to emphasize qualities already naturally present. Kiln-cast glass around the stones allows for qualities of light and (what I hope) a spiritual element to pass through the forms. By marrying fire and materials of the earth with a modern process of casting glass, there is a fusion of composition and chance.
The figures range in scale from larger-than-life to those under twelve inches. Given the range of scale and opportunity to group figures together, there are layers of both interpersonal drama, gender, and generational concerns. The combination of materials expresses both the fragility and enduring qualities of humanity. I believe the figures are universal in that they speak directly to what is elemental rather than superficial about us and our relationships to others. These qualities of spirit are nearly indefinable, of what we share in our immediate lives as well as through a common human history but it is what I want to capture in some small measure.
Recently I have been incorporating my figures into wall mounted sculptures of stone,wood and cast bronze tree branches. The wood and stone panels are suggestive of the human body or torsos. With the layering of my figures into these sculptures, I envision the essence of birth, inner growth and the inner self.
My newest pieces are the exploration between nature and mankind’s reliance on the environment. By casting tree branches in bronze or glass my figures seem to commingle and intersect growing out of these living branches, while emerging off the wall. Making my figures true couples merged in a eternal union, ready to bloom in life, through the dynamics of human relationships, birth, and nature. I hope they suggest a family lineage rooted in our relationship to the natural world.
I have discovered by varying materials, artistic processes, and a belief in serendipity in seeing forms in stones that these intangibles give me the creative impetus to find expression from one vision to the next in my studio
Sandra Ainsley, Canada’s pioneer gallery dedicated to the art and celebration of glass sculpture is proud to present its first one person show of American sculptor Daniel Clayman. Clayman’s work is noted for being theatrical in character, Zen in spirit, and archetypal in form. His sculpture is made primarily of cast glass, graphite, bronze and copper.
Clayman, a BFA graduate of Rhode Island School of Design, began his studies in Technical Theater and Applied Music (he studied the flute) at Connecticut College. This perhaps explains the commanding, stage like quality of his large scale work. As a technical Director he toured with major opera, theater and dance companies as well as rock shows nationwide.
Resonating with a naturalistic and mythic like quality, Daniel’s sculptures have an aura of spiritual contentment and sensitivity. There is an inherent diasporic appearance to Daniel’s work: a harmony of Asiatic, African and Greek influences.
In creating his sculptures, Daniel hand carves full size models out of materials such as clay, wax and styrofoam which are then used to make a mould for the sculpture. Glass is then poured into the moulds and then put into an electric kiln up to 60 hours, with heat reaching up to 650 degrees. The final stages include: cooling the sculpture over a period of a week; sandblasting; and an acid treatment to create his signature, semi-mat surface.
Daniel’s public collections include The Renwick Gallery, The Smithsonian Institute, The Cleveland Museum of Art, and The Museums of Fine Arts in San Francisco. He has done commissioned pieces for Harvard Medical School and Laurence S. Rockefeller, New York, NY and has been a faculty member at The Penland School of Crafts, the Studio at The Corning Museum of Glass and the world famous school of glass, Pilchuk. Currently, Daniel teaches at The Rhode Island School of Design in Providence.
Daniel says about his own work: “For years I have been saying that I want to get my work to consist of one line. So much art is ‘over information’.” Says Glass Magazine, (No. 66, Spring 1997), of Daniel’s role as father, “a critical part of his life is spent being the protector. [His work catches] the complexity of that history, role and feeling”.
When I originally began sculpting with the sandblaster (1985, I think) I was trying to find a way to articulate my perception of my relationships, particularly my relationships with women. Be it my mother, my sisters or my lovers.
To me, this newly discovered medium of molten glass had a most female like disposition so I tried to express that through blown glass with mostly unsatisfactory results. I was much more pleased with the results when I added the sandblaster into the equation.
I would try to blow a piece of unique character and beauty; it would have to be alluring and seductive as a form. With the sandblaster I would then attempt to enhance or deny the original qualities that I had tried to instill in the form. The result, when it was successful, would be a piece that would draw the viewer to it while simultaneously forcing the viewer to consider how intimate a relationship they were capable of maintaining with such an object.
Since that time I have explored many different approaches to designing and executing my work. Drawing on inspiration from nature, man made objects, personal relationships, and my unconscious all with varying degrees of success. Any time I feel myself getting lost in the creative process either by making what are to me unsuccessful pieces or by suffering from a complete dearth of ideas I simply refer back to my original concept and start again.
It is important to me that the objects I make not only have a strong conceptual base but that they also build upon the qualities inherent to the material. Strength, fragility, transparency, opacity, fluidity and stasis; these are all elements that I attempt to instill or refute in my work. People often comment on how the pieces seem like sea creatures or sea forms. Having been raised in Saskatchewan, I try to draw on the grand sweeping gestures and vast subtle movement of the prairies more than on the qualities of the sea, with which I am quite unfamiliar.
The most successful pieces are often executed in a kind of fog. The forms are usually simple and unique, and to me, evocative of someone, something, or someplace. The designs are a natural extension of this simplicity and personality. Too much thought inhibits the expression and causes the piece to look forced.
Visit Paul Schwieder's Website http://www.paulschwieder.com/
Mesmerized, inspired, awestruck, stimulated, and very moved is how the viewer will feel after visiting Jon Kuhn’s exhibition of glass art at the Sandra Ainsley Gallery in the Distillery. Jon Kuhn’s work is rooted in his strong spiritual beliefs, acquired through meditation. He creates geometric pieces that draw attention into the center, which appears to burst with colour and light. This format reflects his belief that the core of all things is what is significant, and that the exterior is secondary.
Jon Kuhn has a unique style of creating glass. He does not use the traditional glassblowing technique to shape his sculptures; instead, he works with cold glass by cutting, grinding, polishing, and laminating it. His style of work has aptly been described by James Yood, art critic and teacher of contemporary art theory at Northwestern University as “Cold working yes, but never cold or without passion; through his relentless search for geometrical essence Kuhn touches a human concern and awe for symmetry and reason that is at the center of our being.”
"My work is metaphorical and allusive, but in loose felt ways, rather than by use of conscious specific literal references. I'm usually seeking qualities of antiquity and mystery, something unmoored from time and place. I strive for work that projects a feeling of obscure provenance and yet evokes feelings of deep recognition and connection."
Hiroshi Yamano was born in 1956 on the Japanese island of Kyushu and studied history at Chuo University, Tokyo, before taking a year off to travel. He visited Scandinavia to investigate contemporary art glass and then went to California, where he discovered the California College of Arts and Crafts, Oakland, CA. Yamano then returned to Japan to finish his degree and save money to attend the CCAC, and two years later enrolled, studying for three terms before returning to Japan to attend the Tokyo Glass Art Institute.
After two years there, Yamano returned again to the States, this time to enter the graduate program at Rochester Institute of Technology, NY where he began his series entitled From East to West. There he developed the technique for which he is best known: rolling thickly blown hot glass over silver leaf to fuse it, scratching figures into the surface and then plating the surface with copper. The idea for this technique came from studying Japanese metalwork, which is used for making traditional objects such as sword guards and copper containers. According to the artist, the fish in his From East to West series are self-portraits with the mountains representing the United States and the water symbolizing Japan with its rivers, lakes and oceans.
In 1991 Yamano was awarded the Rakow Commission, and annual award presented to a leading glass artist. The resulting piece was presented to the Corning Museum of Glass, Corning, NY. After receiving an MFA from RIT, Yamano completed a five-month fellowship with the Creative Glass Center of America, Millville, NJ. He is once again living in Japan.
Richard Marquis, the Seattle based artist whose works in glass combine elegantly executed pieces with garish, bold and provocative elements will be present on Saturday January 25, 2003 when an exhibition of 24 of his pieces opens at the Sandra Ainsley Gallery at The Distillery, 55 Mill Street. Marquis has been garnering awards, commissions and accolades for his often controversial work since the 1960s, making him a pioneer in the art form itself; he studied extensively in Italy following studies at the University of California and his international career has been extensive. Often described as wacky and funky, Marquis likes the irony of the juxtaposition of exquisitely handblown glass vessels with objects from thrift stores.
Visit the Sandra Ainsley Gallery at the third annual Toronto International Art Fair at the Metro Convention Centre, from October 18 to 21, 2002.
The main focus of my work is to create dynamic shapes supported by sensual lines that will gradually evolve from an idea on paper to a sculpture in glass - and combined with light it will have a powerful impact on the viewer.
I want my work to become a part of modern architecture and a contemporary environment, to reflect the era in which we live.
This Exhibition will be in place untill