Glass Blowing at Penland

I’m back from a mind blowing 2 weeks at Penland School of Craft learning to work glass with Jessica Jane Julius and Erica Rosenfeld. Our workshop culminated in an edible installation and performance in the hot shop. I had never worked with glass before, and have a whole new appreciation for how complex the medium is. The experience also opened up my eyes to what performance and installation could be. I came home full of ideas and stoked to make new work!

I’m not sure how this will play out in my work yet. I realized while I was there that I was particularly interested in the optical qualities of glass, like making lenses and prisms for example. I’ve played with distortion and blurring of images both in my painting and video work, and I’m curious about how using a glass element could alter something seen through it.

I also wanted to make simple well balanced vessels while I was there, and learned how challenging it is to make elegant shapes with glass. You have to work quickly while it’s hot, with the correct amount of force, and a surprisingly light subtle touch. And it’s the most humbling of materials. It can be impossible to save pieces when things go wrong, and failure is catastrophic. Pieces often deformed beyond repair and/or shattered.

I enjoyed cold working glass – the work you do using shop tools to work the glass after it’s been annealed. The tools felt familiar – they are similar to wood shop tools. The tools use diamond grit to cut and grind, and aren’t as sharp or abrasive as wood tools. Water is used throughout the cold working process to keep the glass cool and to rinse off the silica as it is ground or cut off. It was satisfying to properly finish my pieces or in some cases to alter them completely using these tools.

I loved working in the hot shop. With four furnaces and all sorts of torches constantly running, it was the hottest environment I’ve ever worked in – over 100F during the day – and the work is very physical. The pipes and rods used to gather and heat the glass are long and heavy, and you have to keep rotating them as you work. Working in teams was another highlight – we all depended on each other to make work.

My team working together to make a dome during the performance
the Penland hot shop!
Day 1 – pressing shapes into the hot glass fresh out of the furnace
the class installation with food
some of my work
the Lily Pond I accidentally found when I got off trail on a walk
the view from the Pines food hall

Adventures in Weaving and Saatchi Featured Artist

It’s official. I’m in love.
I’m in love with my new (to me) weaving loom. I put off buying a floor loom after starting to weave with a simpler kind of loom a few of years ago. Then after taking an experimental weaving and drawing workshop this summer at Penland School of Craft, I ended up going deep in the weaving rabbit hole, and took the plunge a couple weeks ago with this particular floor loom. This one is a four-shaft loom built like a tank because it’s made to be able to weave rugs on it.
I’m learning more complex weaving structures now, and while setup and troubleshooting patterns like this one are slow, in the process of fixing mistakes I’m learning a lot. Taking the time to do things right is worth it. The weaving is going smoothly and it is magical to see the pattern appear on fabric. As I do this, I’m getting ideas and I plan to use weaving techniques to make some large-scale installations combined with sound and video in some upcoming exhibits… Ultimately I hope to figure out a way to make work that pairs my paintings and textiles in a way that makes sense conceptually and visually.
This is A German Bird’s Eye I from Davison’s A Handweaver’s Pattern Book.
This is A German Bird’s Eye I from Davison’s A Handweaver’s Pattern Book.

I went all in with the weaving/fibers and took everything off one of my studio walls to build yarn storage. My father in law and partner built these shelves with me and I must say that seeing all these yarn colors neatly arranged brings me lots of satisfaction and gets my creative juices going!

 

 

And in other news, Saatchi Art is featuring my work in their New This Week selection of artists. You can see Of stones and earth and air with an interesting pairing of works here.

“Of Stones and Earth and Air,” 2019, oil on canvas, 60 x 72 inches

Paper Mountain & the Sky Project

From now until March 2019, I am working on a project for Elder Gallery of Contemporary Art in Charlotte, NC.

This project has two parts, a very large paper mountain and a video projection of skies.

The idea behind this is to create an experience that evokes the outdoor environment. As a painter, my work is about the intersection of the outdoor experience and art. Because painting is inherently a two dimensional experience, this installation is a way to create a more immersive experience for viewers.

I’m looking for partners to help cover the costs of the project. There are the material and equipment costs to build the mountain and to create the sky project, staff to assist with the building of the mountain, and all the time and work I am doing between now and March to make the project successfully come to life.

To learn more about the project, please visit www.jessicasingerman.com/papermountain

On the website, find out more about the project, what it’s about, why it’s important, and different levels of support. I appreciate any level of participation.

If you want to ask me about the project directly, please email me at create@jessicasingerman.com. I’d love to hear from you.

If you love this project, but can’t swing a contribution at the moment, please SHARE this project with everyone you know who’d love it.

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