Audrey Handler is known as one of the pioneers of the “Studio Glass Movement”. She started working in glass in 1965 as one of Harvey Littleton’s first female glass students. Audrey was a board member of the Glass Art Society, an international organization she helped create in 1971. Her studio, housed in a 19th century cheese factory, began in 1970 and is one of the oldest continually operating glass blowing facilities in the country. She has taught workshops in glass helping to spread the artistic and conceptual idea of glass as a medium of expression for the artist. Her sculptures are in collections and museums around the world. She is currently on the Glass Advisory Board of the Bergstrom Mahler Museum of Glass in Neenah, Wisconsin.
Audrey Handler creates single blown glass forms of fruit, glass platters and vases. She also creates sculptural environments that make a comment on universal experiences usually on domestic themes. These sculptures create a surrealistic time and place. Handler holds a B.F.A. from Boston University School of Fine and Applied Arts and a M.S. and M.F.A. from the University of Wisconsin, Department of Art.
In addition to my single blown glass forms of fruit, glass platters and vases, I also create sculptural environments that make a comment on universal experiences usually on domestic themes. My research, ideas and concepts come from life observations. These sculptures are small worlds and landscape portraits with life-sized objects and sometimes tiny silver people. They create a surrealistic time and place. I also make bowls of realistic fruit and bowls of vegetables. My sculptures combine wood and glass, a series I call “Pear in a Chair” and “Wedding Pair”. These are made with the collaboration of my husband John Martner who fabricates the tiny wood chairs and love seats. Painting with low fire glass paints and fusing them on tiles, glass and blown glass platters, creating landscapes of the prairie seen from my studio window, areas around Wisconsin and visions of landscapes from my many travels, has been a recent addition to my work in glass.
Our studio is an old renovated cheese factory with posters, photos and lots of space for my creative work. Along with a glass blowing studio on the first floor, there is my husband’s wood shop and my painting studio upstairs.
A glass studio casting functional and sculptural objects for over 25 years.
John and Wendy Gilvey, Michael Benzer and Jennifer Smith founded Hudson Beach Glass in 1987. Their main studio is located in a renovated ice house in the Hudson Valley of New York state.
Gartner and Blade Glass is the work of Stephen Gartner and Danielle Blade. Business partners since 1995, Danielle and Stephen combine their individual ideas, techniques and experiences to create original works in hand blown and sculpted glass. Over the past decade, they have been developing a series of pieces that explore their mutual fascination with the use of found objects in the rituals of primitive cultures. In these pieces, they hope to convey a reverence for and an understanding of the value of our natural resources.
Natural elements such as bone, antler, wood, vines, fossils and rock formations have inspired their signature designs, which include covered vessels and sculptural objects. Their work combines traditional handblown technique with innovative color application and original sculpting techniques. Prior to opening their own studio, both Stephen and Danielle studied with prominent American and European glass artists. Both worked as glass house gaffers and glassblowing instructors. Danielle and Stephen’s work resides in both public and private collections worldwide and is represented by both national and international art and fine craft galleries.
The work of glass artist Kathleen Eggert is inspired by the costume, rituals, dance and stories of traditional cultures. A self-taught artist, she has developed her own techniques for firing enamels on glass for more than 20 years. Her work has been widely exhibited internationally and is included in the collection of the Corning Museum of glass.
The simplicity of the triangle, circle, square and line combine in infinite variation on the transparent glass plane to create a third dimension. I take this concept a step further by turning the horizontal plane into a three dimensional object in combination with other materials.
By sandblasting, etching and painting on half-inch or thicker plate glass panels, mounted in elegant iron frameworks or fabricated bases, Dale Eggert creates distinctive contemporary sculptures and furniture.
Robert Dane’s current production work is created in his studio in the northern Berkshires of western Massachusetts. The work is influenced by the Italian tradition of glassblowing, but has a distinctly American flavor. Vibrant colors and the spontaneous improvisation of these unique designs distinguish his work in a two thousand year tradition of glassblowing.
These pieces are a result of reflection on my childhood, my parents and my paternal grandfather, tunesmith Joe Burke. Granddad was a successful song writer on the 1930’s and ’40’s and my father was very proud of him. Before my father passed away in spring of ’98, I promised to create a tulip piece, commemorating Granddad’s song, “Tiptoe Through The Tulips”.
My childhood was a happy one represented in my work by games and the excitement of seeing my mother all dressed up to out some evenings. In 1997, she, my sisters and I went to the Philadelphia Museum of Art’s “Best Dressed” Exhibit. Seeing the Museum’s collection of designer dresses of the ’50’s and ’60’s (among others) brought those memories forward and offered a new forum for sculptural exploration.
In March 2002, Ellie was featured on an episode of Home & Garden Television’s Modern Masters Series! Exploring whimsy as an art form with integrity in her Milwaukee studio since 1981, Ellie expresses her lighthearted views through sculpture, perfume bottles, ornaments, and jewelry.
I think I was destined to be a glassmaker. My father worked for Corning Glass and is also an excellent writer and painter. My mother is an artist too, and because of them I grew up with the idea that making objects and painting is very important.
I have always liked hard physical activity and one summer I got a chance to work for a glassblower. I really enjoyed it because it was creative but also physical, like a sport. Glassblowing is art, craft and sport all rolled into one. Even now, 20 years later, I still get a thrill out of making a really nice piece of glass.
At Thames Glass I design and make the prototypes, build the equipment, train the glassmakers, and supervise the production. When we make more difficult pieces I work on the glassblowing team as the gaffer (head glassmaker).
My goal for Thames Glass is to produce the highest possible quality glass and also make sure that the process is a source of pride and pleasure for everyone involved. I want our customers to enjoy our glass and know that it was made by someone, not pumped out by a machine. Years of time and practice have gone into everything we make and that dedication enables us to make beautiful, well-crafted glass that we hope you will enjoy.
Matthew Buechner grew up in Corning, New York with his parents who were artists. His father was also director of the Corning Museum of Glass and later, president of Steuben. Matthew started blowing glass in a local glass studio when he was eighteen. He went on to study glassblowing and ceramics at Hartwick College and later went to Germany to work as a bit gatherer/apprentice making stemware at the Glasshutte Eisch in Fraunau, Germany. In 1981, Matthew moved to Newport and established Thames Glass with his wife Adrian.
Matthew has participated in workshops at Haystack Mountain School, New York Experimental Glass Workshop, Rhode Island School of Design, and Penland School of Crafts. He has taught glassblowing at the Bild-Werk arts program in Fraunau, Germany. Matthew’s glass is exhibited and sold internationally and is included in the collections of the Corning Museum of Glass and Fraunau Museum of Glass. It has been featured in the Smithsonian Mail Order Catalogue as well as in numerous other publications.
The process of blowing glass has been my teacher for the past 35 years. I have developed glass blowing techniques for my work that captivate the fluid energy of hot glass, using fire, air centrifugal force, gravity, and tools to push and pull the glass.
I enjoy exploring the visual dimensions of massive glass and reflective interiors, using transparent colors so that light passes through and brings out the pure beauty and essence of glass.
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