Post Conference Workshops - Tuesday 25th to Saturday 29th January
Workshops cost $1320 (GST inc)
Please note if you are attending the conference (three-day pass) and participating in a workshop you are entitled to a $145 discount.
The Metaphysics of the Vitreous
Professor Marian Karel and Dana Zámečníková, CZ
Led by two famous European masters participants will develop conceptual skills and methods in the development of works that account for space, whether a work is intended for location in a gallery an interior, an urban setting or the surroundings of nature.
The logistics of developing and creating large and small scale work and the level of research and development required to succeed will be covered. Marian and Dana will bring their collective technical knowledge and experience to this concept driven workshop designed for experienced practitioners.
Workshop focus: Conceptual development, fusing, slumping, painting, cold construction, sculpture and installation.
Venue: Sydney College of the Arts
The Discursive Space
Daniel Clayman, USA
This workshop aims to stimulate and inspire experienced practitioners by expanding concepts and philosophies driving their use of the glass medium. Participants will further develop the visual language of their approach to large scale casting through a study of the plumbing and manipulation of space, light and form. The development of experiential works that engage audiences in broader contexts such as fine art and public art underpin the objectives of this workshop. Ideas developed will be married with Daniel’s unique approach to the production of large-scale moulds, the use of specialized kilns and progressive annealing techniques. The workshop is complemented by a look into the use of CAD (computer aided design) programs such as Rhino, CNC translation and CNC (computer numerical control) milling in the production of highly accurate positives for large-scale casting.
Workshop focus: conceptual, mould making, large-scale casting, annealing, CAD, CNC
Venue: Sydney College of the Arts
Contemporizing the Traditional
Jen Elek and Tom Rowney, USA
Jennifer Elek combines color; form, multiple components and innovative processes to create landscapes of glass that are in themselves reflections of modern American existence.
Jen Elek graduated with a BFA in 1994 from The New York school of Art and Design at Alfred University. In 1995 she moved to SeattleWA where she has had the opportunity to work alongside many Northwest notable artists. Currently she maintains a studio with husband Jeremy Bert in South Seattle. Jennifer has taught glass blowing workshops throughout world. Since 2001 Jen has worked as a member of Lino Tagliapietra’s glassblowing team. Most recently she exhibited a solo show entitled “Signals” at the Traver gallery in TacomaWA.
While this workshop recognizes the skill and tradition of the glassblowing process it takes on a renegade approach that ignores the constructs of the aesthetic object and looks at glass as an emotive vehicle in the expression of concepts or creating an experience for the viewer. This workshop encourages intermediate and advanced glassblowers to expand into a conceptual and experimental realm. Skill building in the production of small and large sculptural works development will provide a platform for inspiration leading to seed creation of innovative works, installations or performance pieces.
Workshop focus: Venetian and modern hot glass techniques merged with experimental practice.
Venue: Sydney College of the Arts
The Creature and the Cage: Exploring improvisation, negotiation and structure through borosilicate flame-work
Mark Elliot and Peter Minson
In this workshop we will explore improvisational possibilities using the structure of flame-work. The ‘creature’ is a metaphor for the creative impulse of the artist and the ‘cage’ represents the architecture of a given medium and technique - in this case borosilicate flame-work with its associated technological and cultural traditions.
In the predicament of the creature and the cage there are a number of possible narrative scenarios. Assuming the creature is in the cage, it can
1: break out in a bid for freedom and discard the cage with all its restriction as well as it’s strength,
2: live out its life and death in frustration but relative safety
3: it can negotiate an arrangement in which the cage is stretched (as well as the metaphor) to become a sturdy yet flexible house from which the creature is free to roam at will – experiencing both the thrill of the wild and the protection and sustenance of home.
The creature may even migrate between different homes or become nomadic - turning it’s cage into a tent- to say nothing of its negotiations with other creatures.
Improvisation involves processes of negotiation and adaptation which are particularly prevalent during times of reappraisal and change and at the nexus points of hybridization yet it can be argued that structure is an essential counterpoint and compliment to all successful improvisation in art.
Flame-worked borosilicate is an ideal medium for improvisational approaches due to its immediacy, flexibility and reworkability. As in other areas of glass practice however, planning is usually a critical aspect of the constructive process.
The use of found objects and mixed media in the work opens up the practice of flame-work to the influence of other media; helping to broaden horizons and loosen purist constraints. It also promotes a process of improvisational negotiation between the artist and various media.
This Workshop aims to provide a balance between conceptual and practical aspects of flame-work. We will explore creative possibilities through improvisation, collaboration and the negotiation of concept with reality while fostering a sense of respect for the useful architecture of the craft of flame-work.
Previous experience in flame-work would be an advantage for the participants but other skills would be adequate as the subject should have relevance to other areas of glass practice and perhaps beyond. Different skill levels will be accommodated through the setting of different projects.
Participants will ‘freestyle’ glass improvisations, make a structural form, collaborate on a group installation, incorporate mixed media and plan a personal project while learning sculpting and blowing techniques for making figurative, abstract and vessel forms in clear and coloured borosilicate.
Venue: SydneyCollege of the Arts
Workshop focus: Concept driving traditional and contemporary techniques and processes in flameworking designed to expand one’s existing knowledge of technique but also to develop new ideas.
Venue: Sydney College of the Arts
Negotiating Architectural and Public Spaces
Jane Gavan & Jonathan Jones
This conceptual workshop introduces experienced practitioners to a framework for working within large spaces whether a gallery, foyer or outdoor space. Jane Gavan and Jonathan Jones will guide students through the initial consideration of a space to the complex conceptual and practical planning required to complete works in the architectural and public contexts.
Workshop focus: Conceptual development, public art and installation.
Venue: Sydney College of the Arts
Please note if you are attending the conference (three-day pass) and participating in a workshop you are entitled to a $145 discount.
The Metaphysics of the Vitreous
Professor Marian Karel and Dana Zámečníková, CZ
Led by two famous European masters participants will develop conceptual skills and methods in the development of works that account for space, whether a work is intended for location in a gallery an interior, an urban setting or the surroundings of nature.
The logistics of developing and creating large and small scale work and the level of research and development required to succeed will be covered. Marian and Dana will bring their collective technical knowledge and experience to this concept driven workshop designed for experienced practitioners.
Workshop focus: Conceptual development, fusing, slumping, painting, cold construction, sculpture and installation.
Venue: Sydney College of the Arts
The Discursive Space
Daniel Clayman, USA
This workshop aims to stimulate and inspire experienced practitioners by expanding concepts and philosophies driving their use of the glass medium. Participants will further develop the visual language of their approach to large scale casting through a study of the plumbing and manipulation of space, light and form. The development of experiential works that engage audiences in broader contexts such as fine art and public art underpin the objectives of this workshop. Ideas developed will be married with Daniel’s unique approach to the production of large-scale moulds, the use of specialized kilns and progressive annealing techniques. The workshop is complemented by a look into the use of CAD (computer aided design) programs such as Rhino, CNC translation and CNC (computer numerical control) milling in the production of highly accurate positives for large-scale casting.
Workshop focus: conceptual, mould making, large-scale casting, annealing, CAD, CNC
Venue: Sydney College of the Arts
Contemporizing the Traditional
Jen Elek and Tom Rowney, USA
Jennifer Elek combines color; form, multiple components and innovative processes to create landscapes of glass that are in themselves reflections of modern American existence.
Jen Elek graduated with a BFA in 1994 from The New York school of Art and Design at Alfred University. In 1995 she moved to SeattleWA where she has had the opportunity to work alongside many Northwest notable artists. Currently she maintains a studio with husband Jeremy Bert in South Seattle. Jennifer has taught glass blowing workshops throughout world. Since 2001 Jen has worked as a member of Lino Tagliapietra’s glassblowing team. Most recently she exhibited a solo show entitled “Signals” at the Traver gallery in TacomaWA.
While this workshop recognizes the skill and tradition of the glassblowing process it takes on a renegade approach that ignores the constructs of the aesthetic object and looks at glass as an emotive vehicle in the expression of concepts or creating an experience for the viewer. This workshop encourages intermediate and advanced glassblowers to expand into a conceptual and experimental realm. Skill building in the production of small and large sculptural works development will provide a platform for inspiration leading to seed creation of innovative works, installations or performance pieces.
Workshop focus: Venetian and modern hot glass techniques merged with experimental practice.
Venue: Sydney College of the Arts
The Creature and the Cage: Exploring improvisation, negotiation and structure through borosilicate flame-work
Mark Elliot and Peter Minson
In this workshop we will explore improvisational possibilities using the structure of flame-work. The ‘creature’ is a metaphor for the creative impulse of the artist and the ‘cage’ represents the architecture of a given medium and technique - in this case borosilicate flame-work with its associated technological and cultural traditions.
In the predicament of the creature and the cage there are a number of possible narrative scenarios. Assuming the creature is in the cage, it can
1: break out in a bid for freedom and discard the cage with all its restriction as well as it’s strength,
2: live out its life and death in frustration but relative safety
3: it can negotiate an arrangement in which the cage is stretched (as well as the metaphor) to become a sturdy yet flexible house from which the creature is free to roam at will – experiencing both the thrill of the wild and the protection and sustenance of home.
The creature may even migrate between different homes or become nomadic - turning it’s cage into a tent- to say nothing of its negotiations with other creatures.
Improvisation involves processes of negotiation and adaptation which are particularly prevalent during times of reappraisal and change and at the nexus points of hybridization yet it can be argued that structure is an essential counterpoint and compliment to all successful improvisation in art.
Flame-worked borosilicate is an ideal medium for improvisational approaches due to its immediacy, flexibility and reworkability. As in other areas of glass practice however, planning is usually a critical aspect of the constructive process.
The use of found objects and mixed media in the work opens up the practice of flame-work to the influence of other media; helping to broaden horizons and loosen purist constraints. It also promotes a process of improvisational negotiation between the artist and various media.
This Workshop aims to provide a balance between conceptual and practical aspects of flame-work. We will explore creative possibilities through improvisation, collaboration and the negotiation of concept with reality while fostering a sense of respect for the useful architecture of the craft of flame-work.
Previous experience in flame-work would be an advantage for the participants but other skills would be adequate as the subject should have relevance to other areas of glass practice and perhaps beyond. Different skill levels will be accommodated through the setting of different projects.
Participants will ‘freestyle’ glass improvisations, make a structural form, collaborate on a group installation, incorporate mixed media and plan a personal project while learning sculpting and blowing techniques for making figurative, abstract and vessel forms in clear and coloured borosilicate.
Venue: SydneyCollege of the Arts
Workshop focus: Concept driving traditional and contemporary techniques and processes in flameworking designed to expand one’s existing knowledge of technique but also to develop new ideas.
Venue: Sydney College of the Arts
Negotiating Architectural and Public Spaces
Jane Gavan & Jonathan Jones
This conceptual workshop introduces experienced practitioners to a framework for working within large spaces whether a gallery, foyer or outdoor space. Jane Gavan and Jonathan Jones will guide students through the initial consideration of a space to the complex conceptual and practical planning required to complete works in the architectural and public contexts.
Workshop focus: Conceptual development, public art and installation.
Venue: Sydney College of the Arts