Public Opening Reception

February 20, 2004,
5-9 pm

MEDIA Preview:

Thursday February 12,
11am - 5pm

RSVP appreciated



a survey of established & emerging talent

This exhibition continues our strong tradition of discovering the NEXT Generation of artisans. For this Invitational, we have assembled an exciting group of talented artisans who are receiving national attention, along with a several "new discoveries...

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Hemisphere Redux (2003): laminated optical glass & dichroic glass; 10" x 10" x 7"; $15,000

(CA and NH) Precisely ground and laminated ("constructed") optical glass combined with dichroic glass result in painterly sculptures which reflect and refract such that each becomes a different work at different angles and times of day, ranging from quiet to brilliant.
Toland's approach to his pieces is one of attention to the inherent properties of glass - "Glass is for me the perfect medium because it has it all: dimension, clarity, color, opacity, reflectivity and environmental presence. I want to concentrate on the surface and interior of the sculpture, to convey tension and resolution... as well as involve one's attention beyond the piece". Indeed, one's eye is drawn in and then out, in, and around. As a teenager, Toland lived in Athens, Greece, which has had a profound effect on his work. Sources and influences can be found in ancient and contemporary architecture and sculpture; a readily apparent appreciation of simple geometric and architectural shapes are given life by a complex interior; the work is lively with visual movement that captivates... and becomes a reflection of the viewer.
A devastating studio fire in 2002 has had a silver lining in re-energizing the artist; his works have taken on a more adventurous spirit, become more lively, and transcended the constraints of past geometries. Significant collector interest at SOFA - Chicago reaffirms our assertion that these new works are the artists' best to date!

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Blue-Rose-Milk Cluster #69;  188 Blown-glass pieces; 7 feet in length; $8500 
(AR) Contemporary translation of ancient Venetian techniques and styles to make engaging, colorful, jaw-dropping light fixtures - pendants and chandeliers - and sculptural "clusters". Working with a palette of over 16 colors, Pennebaker creates his fixtures from as few as 40 to as many as several hundred individual elements. The resulting lighted sculptures can be vibrant and bold, like a circus, or understated and classic, suggesting a dark-paneled library. Either way, the spikes, curlies, and melons are sure to add a touch of drama to any room!
Of course, the most important aspects of glassmaking are light, color and form. Ed creates his work to take advantage of luminosity: light coming through the glass reveals texture and pattern and casts colors and shadows so the glass work interacts with its environment and becomes a pure visual feast. The jewel-like colors of glass, the individual forms of the pieces, and the light from within work as a group and function as a chorus of voices.
Ed's inspiration comes primarily from nature: the many vines, fruits, and plants in the wild... grape vines and honeysuckle, sprouting buds, leaves, fruit, and seed pods present a variety of expressive shapes and forms.
The fluidity of glass is expressed in the curvilinear forms; its voluptuousness is expressed in the globular, melon shapes - ready to burst with ripeness. Arkansas' winter also provides inspiration: under masses of icicles that have melted and refrozen, Ed surveys mounds of ice globules with wonderful textures, patterns, and optical qualities; frozen luminous transparent forms with colorful moss, rocks, and leaves visible underneath which are then referenced in his chandeliers and clusters.

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Brian Russell: "On the Fence" (2003): Cast Crystal, Forged, Patinated Steel; 21" x 27" x 9"; $7500

(TN) Cast Crystal vessel forms supported by/incorporating forged metal bases. Russell, an established metal sculptor and blacksmith, became enthralled with lost-wax glass casting during a sabbatical to New Zealand; mastering new techniques and materials stimulates his creative vision, and
each new work allows a synthesis of ideas - and expands his sculptural vocabulary to include more color and volumetric shapes. This visual vocabulary derives from his travels, nature and the human form. The transparency of the colored glass has an inherently emotional effect that enables the artist to speak quietly, yet powerfully, about his ideas on the nature of reality and purity of form. Dramatic forged metal, synergized with the images presented by the vivid glass castings, adds energy to his sculptures. His current series, Hemispheres, features intricate metal bases cradling half rounds of glass infused with brilliant color. Showing mastery of both cast glass and forged metal mediums, Russell's glass and metal creations are fast moving into monumental sculpture - examining dimensional space, illusion and the interactive nature of light. Brian Russell has been honored with over twenty museum and gallery exhibitions, and his work can be found in numerous private and public collections.
**Brian Russell will give a slide lecture / gallery-talk at 4pm on Saturday, February 14. Reservations required. ***
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Alex G. Bernstein: "Devour" (2003);  Cast, cut, polished crystal with embedded steel filings, 8" x 8" x 2"; $2250
Alex Bernstein: "Pierced" (2003)

(OH) A symphony of contrasting materials… cast Crystal or Optical Glass, subjected to grinding wheels, then fusing steel to the carved outer surface, which is then either patinated or left to oxidize naturally. Until recently, Alex' work has been primarily created from clear optical blanks or castings, and dealt primarily with themes of voids, texture, and geology; with this exhibition, he once again turns to colored crystal to lend another dimension to his investigations. Bernstein's work is being quickly acquired by collectors as a bold and refreshing exploration of visual form and storytelling. He skillfully combines metaphor with the impact and optical quality of glass. His cast glass sculptures provide the viewer with intimate narrative landscapes, drawn from light, form and color...
Alex is a full-time professor at the Cleveland Institute of Art. He has also taught at the Rochester Institute of Technology, The Studio at the Corning Museum of Glass, and the Penland School of Crafts. Bernstein holds an M.F.A. in glass sculpture from the School for American Crafts at the Rochester Institute of Technology. He recently received several awards, including special selection at the international Craft Biennial in Korea and an Emerging Artist Grant from the American Craft Council. His work is shown internationally, and is represented in many collections, including those of the Corning Museum of Glass, the Glasmuseum in Frauenau, and the Rochester Institute of Technology.
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Taliafero Jones: "Essence" (2001); Cast Crystal 11" x 9" x 2"; $2400T. Jones: "Joy Drops" (2002); Cast Crystal  8"x 31" x 3.5"; $5700T. Jones: "Inside" (2001) Cast Crystal: 11" x 7" x 5", $2900
(Ontario, Canada) Kiln-cast crystal, referencing subtle physical patterns of Nature.
As the daughter and grand-daughter of two of the most famous golf course architects in the world, (Robert Trent Jones Jr. and Robert Trent Jones, respectively), one could definitely say that creativity runs in her family! Indeed, Taliaferro Jones graduated from Tufts University and the School of the Museum of Fine Arts Boston where she received her BA in Art History, and her BFA in Photography and in Glass, Mixed Media Sculpture. Utilizing texture, form and light, Jones explores the essence of balance from the physical to the spiritual, both in her glass sculptures and photography. Referencing sacred geometry and symmetry from a variety of cultural and spiritual beliefs, she seeks to trigger unexplored approaches to the intangible within the viewer. In her sculpture, Taliaferro looks at the overall pattern and hones in on its intrigue in order to draw out the elements of balance. Her sensual minimal glass sculptures incorporate the macro patterns of sand, water, grass and other natural elements on their surface. The resulting pieces are both visually and tactilely rewarding to the viewer, with ever changing colors and patterns emanating from the work. Seeking and attaining balance is a constant journey, with ever shifting layers and levels which continually drives Jones' work forward.


S. Knapp: "Vivace" (2003) light, glass, stainless steel, 13' x 16' x 10, $75,000

(MA) *Courtesy of Kraft/Lieberman Gallery - Lightpaintings.
Neither strictly glass, nor even strictly craft, Knapp's work is included in this exhibition as something of an exclamation point. Perhaps illustrating the nexus of fine art & fine craft - a new art form for the 21st century- his lightpaintings are the result of a decade of experimentation and development, arriving at a point where he can shape and manipulate light, allowing him to "paint" with it. Using finely shaped and polished pieces of (dichroic) glass as his pallet, Knapp separates white light into pure color, producing dimensional "lightpaintings" which float across a wall. He writes, "From my early work in photography to my large kiln formed art glass walls I've been fascinated by the nuances and movements of light. Even in seemingly non-responsive media such as steel, stone, and ceramic, I was attracted to the possibilities of their kinetic response to light."
Stephen Knapp has gained an international reputation for large-scale works of art held in public, corporate, and private collections, in media as diverse as lightpaintings, kiln formed glass, metal, stone, and ceramics. His work has appeared in countless international publications including Art & Antiques, ARTnews, Architectural Record, Honoho Geijutsu, Identity, Interior Design, Interiors, Nikkei Architecture, Progressive Architecture, The New York Times and many more. His book, The Art of Glass, features the top architectural glass artists in the world, and he frequently writes and lectures on architectural art glass, the collaborative process, and the integration of art and architecture.

Other confirmed artists include:

Inspired by digital imaging, Mossman creates heavily cased "vessels" whose murrini are coposed of widely spaced extremely fine cane pulls.... some as thign as human hair! Technical mastery and a fresh artistic vision and message make Mossman "one to watch"! Indeed... his debut at SOFA-Chicago this year was well received by collectors seeking "something new".

A professor at Detroit's College of Creative Studies, Maxwell Davis' work is by far the most functional... Combining stainless steel, plate glass, and blown elements, Davis creates truly useable sculpture. Conveying a highly industrial aesthetic, his work is nonetheless finely finished - though seemingly broken edges may first deceive. Davis writes, "The signature of my furniture has always been the broken edge on some part of the flat glass. This tends to be the ultimate in contradictions for me. People are drawn to touch the edge because of the intense energy produced by the refraction of light on the broken edge, even though they know in the back of their minds that the sharp edge could easily slice their fingers. I sand and polish the edge for just this reason. It is the same attraction we have to fire, seductive yet dangerous"

A relatively new discovery for us, O'Keefe may well be the master of "how did he do that" in this show. His simple, clean and elegant sculptures rely on optical purity... and a mysterious dichroic "veiling" which seems to have be placed by magic.

Cariati is both painter and glassmaker, whose personal style blends Postmodernism, Memphis, and traditional Italian influences into something uniquely his. Exquisitely crafted and proportioned, his work adds "fun" to the glass collecting equation.

Another Detroit artist whose work we have proudly represented for many years is Paul Runde. While his pieces are incredibly accessible, his sculptural vessels are precisely crafted. Meant to evoke artifacts, his hanging vessels have been widely collected - buyers relishing their simplicity and grace, with the hint of some exoctic or primitive past "life" . Runde's newer "nautilus" series continues his theme of archaeology, but with a subtle underwater feel. Not artifacts, nor fossils... yet conveying their message, just the same. Runde is an excellent acquisition now, especially for the nascent collector!
1046 W. Fulton Market, Chicago, IL 60607

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