Glass Seaweed, 2014, Flameworked borosilicate glass, 20″ x 20″ x 20″
American artist Emily Williams draws inspiration from the sea and other aspects of organic life for the creation of her fragile glass sculptures that mimic seaweed, jellyfish, and coral. Each piece begins with a selection of perfectly straight borosilicate glass rods in various diameters which she carefully melts with a glass torch to form patterns similar to veins and branches.
As a child, Williams’ grandmother was a docent at the Smithsonian leading to many artistic and scientific discoveries at a very young age that would deeply influence her decision to pursue an artistic career. She went on to receive her MFA in sculpture from Washington University in St. Louis and a BFA in sculpture from V.C.U. in Richmond. She is currently working on an impressive glass coral piece shown in the video below (and discussed in this blog post), and you can see more views of her work both on Facebook and in her portfolio.
Glass Seaweed, detail
Glass Coral Skeleton, 2013, Flameworked borosilicate glass, 20″ x 22″ x 10″
Coral Skeleton, detail
Glass Nest, 2013, Flameworked borosilicate glass, 15″ x 20″ x 20″
Glass Jellyfish, 2013, Flameworked borosilicate glass, 15″ x 14″ x 14″
Glass Petal, 2013, Flameworked borosilicate glass, 15″ x 12″ x 4″
Burst, 2013, Flameworked borosilicate glass, 12″ x 10″ x 10″
Glass artist Kiva Ford draws from his vast experience in scientific glassblowing to create perfect miniatures of wine glasses, beakers, and ribbon-striped vases, some scarcely an inch tall. A member of the American Scientific Glassblowers Society, Kiva creates instruments for scientists who require one-of-a-kind designs for various experiments. The same techniques and tools used for scientific equipment also apply to his artistic practice including the miniature works you see here, as well as larger sculptures, and ornate drinkware.
White Water, all images provided by K. William LeQuier
Curl No. 5
Glass artist K. William LeQuier‘s glass work is inspired by the drama of the natural world and its everyday events. His sculptures reflect this inspiration by mimicking the natural movements of the sea and its creatures. Each sculpture is held steady by a simple black armature, a hint to the artist’s hand involved in the creation of each glass sculpture.
After years of blowing glass vessels LeQuier moved to the sandblasting process where he learned he could generate textures similar to natural erosion. In addition to forming works that appear as waves, he creates work reminiscent of sea urchins, sponges, and anemones. Most interesting about the sculptures are their layered composition, a complexity that could easily be looked over due to the high level of skill apparent in each sea-themed object.
Currently LeQuier lives and works in Vermont with his wife Mary Angus. His work can be found in the permanent collections of museums across the country including (but not limited to) the American Glass Museum, Indianapolis Art Museum, National Liberty Museum, and Philadelphia Museum of Art. (via My Modern Met)
“New Light on Rome 2000″. Aula of Trajan’s Markets, Rome 112 AD, in spectrum sunlight. Materials: sunlight, laser cut prisms.
In the late 1980s American artist Peter Erskine began to incorporate sunlight into his artistic practice through the use of strategically placed laser-cut prisms in both modern and historical sites. A hybrid of both art and architecture, he explores the way light falls on varying surfaces and brings new meaning to existing places. Erskine says the intent of his light installations is to use “the emotional impact of art to address the full range of nature from its most elemental expression as pure light to its most complex expression as global ecology.” You can explore more of his work with light over the last 30 years on his website. (via Arpeggia)
Kokerei Zollverein, Essen, “Sun Moon and Stars”, Rainbow sundial calendar “Spectrum of Time”, and Solar powered solar art with heliostat “Sunrise”, permanent installations. / Ballymena, N. Ireland. ECOS Environmental Centre. Interior “Rainbow Sundial Calendar”. Opened 8.2000, permanent installation.
Since the early 1980s Japanese artist Niyoko Ikuta has explored the properties of glass which she uses to make etheral geometric sequences manifested as layered sculptures. One of the leading figures in Japanese glass art, Ikuta’s works have been collected by institutions worldwide including the V&A in London and the Corning Museum of Glass in the U.S. She shares about her work via V&A:
I am captivated by the complexity of light as it reflects, refracts, and passes through broken cross sections of plate glass. In 1980 I began making artwork by laminating sheets of glass using adhesive and exposing the cross sections. My motifs are derived from feelings of gentleness and harshness, fear, limitless expansion experienced through contact with nature, images from music, ethnic conflict, the heart affected by joy and anger, and prayer. In creating my pieces it is like imagining an architectural space when viewing blueprints, deciding on an image by reading into the intentions of the architect, or imbuing a space with dynamic energy to bring it to life.
Husband and wife team Paul DeSomma and Marsha Blaker translate their oceanic inspirations directly into their collaborative glass sculptures, frozen glass waves caught mid-crash and appearing to spray surf from the contained vessels. The works exist as seamless gradients, dark blues circling the base while white froth circles the top of the pieces crafted from molten glass.
Although the couple works collaboratively on the vases, they also adhere to individual practices. Blaker focused on the textures and colors found within detailed marine environments while DeSomma’s work emphasizes the clarity and form of colorless and transparent glass.
The couple met at the esteemed Pilchuck Glass School in 1989, marrying shortly after and opening their studio in Live Oak, California in 2001. Together the couple is known internationally for their glass and ceramic work. (via Creative Boom and Amusing Planet)
Merry Coor produces ethereal designs from cremated remains within custom glass beads. Coor crafts each bead by hand, first melting glass into a round bead, then spiraling the design out of ashes on top, and finally sealing the design with an outer layer of clear glass. For each bead she not only requests a 1/2 teaspoon of ashes, but also a picture, letter, or story of the deceased so she can develop a personal connection while forming the piece of jewelry.
Coor has been making glass beads for about 15 years, but it wasn’t until last year that she began incorporating ashes into their designs. After this development Coor explained, “My bead making now gave me a new purpose, and a way to honor others, both living and passed.”