On view June 5 through August 22
Anish Awad, Gallery Assistant, Photographer and Editor
The Goodbye Grandview exhibition was organized by Exhibitions Coordinator Angela Jann and includes works from over a dozen original and recent Glass Axis members.
It was the last exhibition in the Glass Axis Kennedy Gallery space before Glass Axis moves to Franklinton in September. It showcases members that have been with Glass Axis for years as well as some new faces. The exhibit includes past and very current work and shows how members’ work has evolved during and since their time at Glass Axis. Narratives of the artists’ involvement at Glass Axis over the years accompany each entry.
Pitcher and Four Tumblers
6.5 in X 8 in X 8 in
My entry is a set of water glasses and pitcher out of clear glass. The pitcher has a Roman handle and the set contains 4 different glasses, with a simple cylinder, an optic tumbler, my take on a British Pub style beer glass, and a very old English design called “Nipped Diamond wise”
GA 5000 Atomic Disintegrator, 2014
8 in X 12 in X 4 in
The GA 5000 Atomic Disintegrator is one of a pair that I had made for the 2013 Pilckuck auction in the name of Glass Axis. While I’ve made my fair share of ray guns in the past, this is the first that I made at Glass Axis, and the first that I chose to mirror and oxidize, giving it an aged patina. This look fits quite well with my love of old science fiction shows and I plan on making many more with my time here.
18 in long X 5 in diameter
I signed up for the axis mailing list years ago as I had always planned on taking a class. My uncle was a glass worker and I always aspired to go down the same path. I ended up taking classes at OSU and just earned my BFA. I have helped a number of artists at axis and participated in a number of demonstrations and other events. I am actually looking to become more involved.
Talking Heads, 2013-2014
10 in x 13 in X 4in
My first class at Glass Axis was at the Cozzins Ave. studio and I helped move to the Grandview studio. I initially got involved because some people that had taken classes suggested I try it. So I did! It was scary hot, and glass was strange and hard to work with. For whatever reason (they were good ones) I stayed with it making lopsided tumblers (I can still make those) and all sorts of funky looking vessels only a mother could like. Then somebody recognized my lack of talent and suggested I try sculpture – it didn’t have to be close to symmetric. I have been stuck in glass sculpture since. It’s been a great ride thanks to all the people that I met through the studio and blowing glass.
10 in X 8 in X 5 in
Shuttle Jug, 1989
10 in X 8 in X 8 in
AXIS – the center around which something rotates. The name Glass Axis was well chosen. It reflects the true meaning of what this organization is: “the center around which something rotates.” The glass studio pulls us together as we revolve around it. People of many different ages, backgrounds, interest and experiences all enjoy and benefit from each other – all facilitated by Glass Axis. We are truly fortunate to have such a place.
Magnolia with Chickadee, 2014
Kiln Formed Glass
16 in X 9 in X 1 in
I started my studies with Michael McNerney at the Glass Axis in 2007. It was so exciting and fun, it was hard to see the classes end. Beside kiln formed glass, Michael taught me to use the equipment for cold working and programming kilns. With the help and guidance of Michael I purchased my first kiln and started my love of fused glass. Glass Axis provided me the space, tools, education, and inspiration to continue my journey.
Blown glass roll up
5 in X 7 in X 6 in
I have been involved with Glass Axis since 2002, taking classes, volunteering, and teaching classes. I had taken glass blowing in college and wanted to pick it up again. I told my husband that I wanted to blow glass and he responded “I think you should”, and that was that. I joined Glass Axis and signed up for glass 1. When I started to bring home the things I had made in class, my husband Scott saw them and decided he would like to take glass blowing as well. We both ended up taking glass 1, 2 and even some of the 3rd level classes. After that we spent a few years working in the hot shop together. Scott no longer blows glass, but I am still at it, and am now teaching and giving glass blowing demonstrations at Glass Axis.
The Kool-Aid Kid Rides Again
Mold and hand blown glass
12 in X 10 in
This cowboy head was the first glass piece I ever showed in an exhibit sometime back in the mid 1980’s. It was an early if not the earliest Glass Axis exhibition. Hal Stevens of Ohio Designer Craft Studio on Riverside Drive near Trabue Road in Columbus gave us a group show. With Richard Harned’s help a combination of OSU students and non-student called our selves Glass Axis. Hal also ran Winter Fair craft show at the time and was always on the lookout for new craft talent. The show was a grand mix of Ed Schmid, James Shumate, Lee Hervey, Rod Sounick, Geoff Taber, Molly Watkins, Aqua Williams, myself and others.
Almost 30 years ago now, Richard Harned, OSU glass program director and Glass Axis founder knew there were limited venues for showing and making glass artwork after graduating from glass school. Selling glass “artwork” was an issue at the time. A community needed to be built. Tom and Sherrie Hawk were seeding a high end Columbus glass market, but there were few opportunities for the many local artists who wanted to make glass stuff Columbus had never seen and had absolutely no use for. There were two Columbus college glass programs, the Columbus College of Art and Design and OSU, and Richard knew something Axis-like was needed. So as a way for glass in the city to reach professional respectability, he started holding Axis meetings in his home.
This white cowboy hat I made with the help of Sharon Gilbert, an MFA glass major at OSU who later opened TALISMAN GLASS, Chicago’s premiere private glass studio, almost 25 years ago. The head I blew in a two-part plaster and silica mold I made of my face in a non-credit, OSU Creative Activities Program class taught by Molly Watkins with Geoff Taber. At OSU visiting artist Tom Farbanish (among the top glass blowers working today, Tom was a 1985 Creative Glass Center of America’s resident fellow) walked me through the mold blowing process. So the night before my first show I glued the white hat on the Mr. Kool-Aid pitcher head and entered it in the show.
Andy Hudson has been a member of Axis for over 25 years and was one of three founding members of the first Axis studio along with Jim Kennedy and Jim Shumate. Andy is a four-time board member, a frequent teacher at glass Axis and is currently working on a historical archive of Glass Axis.
Deconstructing Time: Memories III, 2014
Rollar Skate, Clarinet, Blown Glass, Pocket Watch
32 in X 9 in X 5 in
Coming from the glass environment of Harvey Littleton at the University of Wisconsin, my experience of the glass studio movement is that of breaking from the traditional factory craftsman/designer relationship to establishing the first glass studio in a university. Glass Axis took our world one step further by putting the mobile “hot shop” in a parking lot and thereby getting our previously hidden artistic message in front of the public at community centers, schools and art fairs. I remember Richard Harned brainstorming this movement into a reality called Glass Axis.
Transportation vs. Industry, 2008
Nut and bolt 2 in X 1 in X 8 in
Tire tread 24 in X 8 in X 2 in
My girlfriend Victoria got into VCU so we are headed to Richmond, VA in August. I was perplexed for what to enter because I will be moving out of state during the exhibition and didn’t want to make Glass Axis to have to ship something or have my work get lost in the shuffle of moving. But I found the solution. This is a piece that was a collaboration between myself and Jonathan Tepperman, a former OSU grad and my first glassblowing instructor. He currently lives in Columbus so he will be able to retrieve the work once the exhibition is over.
Blown Glass – Murrine
11 in X 7 in X 4 in
Lagoons of Venice, 2014
Blown Glass – Murrine
16 in X 9 in X 5 in
Blown Glass – Murrine
10 in X 6 in X 3 in
My background in Architecture has always been a natural extension of my appreciation for the arts. Throughout my life I acquired and collected art objects. One day my girlfriend jokingly said to me… “If you love that stuff so much, why don’t you just make it yourself?” I thought to myself – yeah, that’s a great idea; I am going to try it. My girlfriend purchased a couple of Glass Blowing classes at Glass Axis in 2007 as a gift and that’s when it all started.
Dan Schreiber was my Instructor for Glass I. Before we got started I pulled Dan aside and talked to him. I asked Dan “How long would it take to be an accomplished Glass Blower”. His reply was a minimum of 10 years. I told him that’s too long for me at this point in my life, but I am going to give it a serious effort for one year and then I would evaluate my progress and decide to quit or continue. Near the end of The Glass 1 course, Dan informed me that he was going to lead Pumpkin production on the weekends and said I should stop by to see how a team works together. I came in and was put on a team where I was responsible for one small task in the process I very clearly remember this as the turning point in my glass blowing future. The experience was exhilarating. I was hooked for life and there was no turning back. I soon gave it the same dedication and focus I previously had for Athletics. That empty void left from sports was now filled with a passion for Glass.
After completion of the Glass I and Glass II courses, I began renting time at Glass Axis in 2008. Glass blowing soon became a very important part of my life. A friend of mine recognized my new found passion and told me I should check out the Corning Museum of Glass and take some of their courses. After my first trip to Corning, I felt like I had died and gone to glass heaven. Since then, I have participated in six intensive one and two week workshops at Corning with Mark Matthews, Matt Urban, and twice each with Bill Gudenrath and Davide Salvadore; all have been truly inspirational to me. Equally important to me, are the many professional local glass artists who have given me invaluable advice along the way. For the past 6 ½ years I have pursued glass as intensely as my full time job as an Architect will allow. I plan to build my own hot shop in the near future.
As a practicing Architect for nearly 30 years, I have always been drawn to the use of natural materials; stone, metal, wood, and glass. The various ways these materials are used, in combination with the interaction of light has a profound impact on the way we perceive spaces. The study of glass as an art form, is a natural extension of these aspects, but in an entirely different way to me. Sculpture, painting, pottery, and all other art forms primarily deal with color, shape, and form as it relates to solid and opaque surfaces reflecting light. The aspect of transparency in glass, adds a very different dimensional property that is unique to glass. This aspect of transparency is intriguing to me.
I am drawn to the Cultural and Historical aspects of Glass; specifically Venetian glass and Italian techniques. I find beauty in simplicity, as it is expressed in the refinement of detail through classical shapes and forms. My aesthetic for Architectural design is the same as it is for glass. Good design Is not about the amount or complexity of the details; it is about the simplicity and refinement of the details. The measure of successful design to me is when the overall design of an object can be reduced to its simple conceptual notions
I’ve Got the Blues, 2012
Fused and Slumped Glass
15 in diameter
Sometime in the mid-1990s, the art teacher at Bexley High School, Mabe Ponce de Leon, organized an out-of-school trip to the Glass Axis. Because the number of students was limited, one of my AP English students, Rachel Hollander, volunteered to organize a trip of our own when school let out for the summer. So the first Saturday after finals, three students and I went to Glass Axis to make paperweights. What fun! Very hot, fun! And while I enjoyed the experience, I didn’t have a strong desire to pursue further lessons in hot glass.
About a year later, Roxanne McGovern taught a glass-fusing class at the former bead store, Byzantium. This was something I could do and enjoyed doing. Upon looking at my finished pieces the following week, I was hooked. Roxanne suggested that I check out Glass Axis for further instruction.
In the meantime, Rachel and I took a couple of bead-making classes at Glass Axis. Rachel’s beads were beautiful-mine were not. In fact, when I got them home, I proudly showed my misshapen blobs of glass with holes in them to my husband who quickly asked, “What are those supposed to be?” I can certainly take a hint. No more bead classes for me. But the course offerings also included something called “warm glass.” It sounded interesting, so I signed up for a beginning course. Unfortunately, it was not a good experience. I complained to the manager, a former student of mine, Ingrid Lazerwitz, about the class, and she suggested that I take another one, free of charge, with a new teacher who was just hired. Having nothing to lose, I agreed.
Mike McNerney turned out to be fantastic. His love of warm glass and skillful teaching techniques hooked me permanently. After taking all of his courses at Glass Axis, I continued with private instruction. It was at his suggestion that I purchased a very large “coffin” kiln. I set up a home studio in my basement and continued exploring my passion for glass. Soon after, Mike said that I was ready to go out on my own. He couldn’t justify any more private lessons, and so I began building a body of work. By now, Mike and I were friends, and any time I had a question, he patiently answered it. His boundless knowledge of glass has helped me out many times. The man is a natural teacher.
By this time, my husband and I had set up a business called Spare Time Ventures, largely based on the clocks he was making. And although I now go by Designs in Warm Glass, that is a division of Spare Time Ventures. I did local art shows, and he traveled out of state. It was during this time that I participated in my first Glass Axis sale. Fortunately, Theresa Cress was set up next to me. In addition to selling at the show, she also taught bead making. She convinced me to give it another try, so I signed up for her classes. I’d like to think that my improvement was due to my increased skill with glass, but that’s just not true. It was Theresa’s guidance. Suddenly, my beads were round—not only round, but shaped like the little cupcakes she makes. While mine were not ready for prime time, their shape was at least recognizable to my husband. Now that I know I am capable of making round beads, I envision pursuing torch-work at a future time (probably after more tutoring by Theresa).
Right now, I participate in local indoor shows, sell wholesale, show in galleries, and do commission work. John Barr, from Ohio Designer Craftsmen has also been very supportive. My first experience with Winterfair provided a wealth of information from how to better display my work to the importance of evolving as an artist. Since the clientele doesn’t change very much, my work needs to.
So there you have it. From a paperweight to beads and finally warm glass, my artistic journey continues to expand. Glass Axis shows have allowed me to reach a different audience than I would at the holiday shows I now do. The gallery’s willingness to embrace change has also provided impetus for me to create more themed pieces. While I may not blow pumpkins, my participation in the Pumpkin Patch sale was encouraged and very successful. The new staff has been particularly welcoming and supportive, and I look forward to participating in many more successful shows with them.
Color Verse Black, 2012
Fused Glass with Metal Frame
I am a retired OSU Toxicologist and Cancer Prevention Researcher. I have worked with glass fusing, stained glass and beads for the past six years. I have greatly enjoyed his five years at Glass Axis and hope to continue at the new facility.
Shell #1, 2005
7 in X 8 in X 5 in
Almost 20 years ago when I was almost 50 I found Glass Axis in the old Belmont Casket building. I had ‘learn to blow glass’ on my Bucket List because my great grandfather came to America as a glass blower and my grandfather owned several glass plants. I literally talked them into starting a class by finding two other participants.
I kept at it for almost 10 years and when I was almost 60 and Glass Axis moved to Grandview so did I. The shell is a product of those years. I remember the summer of our move only too well. It was hot! It was also dusty and long. Lee Harvey was the coordinator and did a lion’s share of the work. Dan Shriver was also key but many, many people, some that I don’t see at Axis anymore, really worked hard to help. Dawson Kellogg did mammoth work on the ducts – I think he put them all in. I supplied food and drinks and moral support. Dom Caveralli and his brother built the private studios and Dom told me the one he’d pick, so I asked for it. We had a big cookout one a little lawn and had a lottery for private studio space.
Now I’m closer to 70 than not and Glass Axis is moving again. Stay tuned, I expect to add to the collection and I hope to blow in our new facility until I’m 80.
Rock, Paper, Scissors
8 in X 10 in X 5 in
My work has grown tremendously in the nearly twenty-five years since my initial involvement with Glass Axis in Columbus. No doubt doing the dog and pony show with the mobile glass unit, in addition to begin teaching glassblowing as a graduate student at O.S.U. certainly help pave the way for the type of teaching that I do, in addition to giving me food for the fire in my glassblowing books. I believe that variety is truly the spice of life, so my work in glass reflect a diverse set of interests, as well as specific audiences for which I create and intend them to be scene (sic).
9 in X 5 in
12 in X 4 in
4 in X 2 in
Multi Colored Paper Weight, 2014
5.5 in X 5 in
As an artist at Glass Axis I was one of the original 12 who started the Belmont area studio. I’ve been involved with Glass Axis since 1990 graduate studies. I remember familiar names like Lee Hervey, Stephen Stevens, David Moores, Jim Shumate, Carrie Hacket and Rod Sounik, as well as lots of faces from the past. I was on the Board of Trustees 1994-1998 and did a lot of volunteer work at the very beginning of the art studio. I have tried to help throughout the years..
One of my favorite memories was when we were all sitting in a circle in our first empty building figuring out where the furnaces, cold shop etc. were going to go. The excitement of having our own place was overwhelming. It was a freeing feeling to be able to continue blowing glass after grad school.
We introduced “blow bucks” whereby you could work two hours then you would receive one hour free blowing. Rental of the studio was going to be very reasonable (I think it started at $15 an hour). we were discussing the shop tech, office staff, committees and the Grant Committee that I volunteered for. This was our first official meeting in that first location, now called the Arena District. My fear of time commitment and excitement all at once is still one of my most dear Axis memories.
Of course the glassblowing Halloween parties at the old studio were awesome. I remember demonstrating, one time I demonstrated with a witch outfit on. I’ am also pretty sure I caught my skirt on fire that night. In the current location—I remember bringing my children to Axis in a stroller up until their teen years. They were at many Holidays sales with me, then we would go to the wild lights at the Zoo. Later years their cousins and friends would have a glass play day at the studio. They both have had been blowing many times with me.
Overall I’ve been blowing at Glass Axis pretty much the whole time. I usually work in the mornings and I make my own pieces to sell at many art shows around Ohio. Thanks to Glass Axis I’m able to continue my art and glass.
On a visit to Toledo Museum of Art in early 2009, I saw a glass blowing demonstration that sparked my interest. That spring I saw Glass Axis member Jim Delange at a sale in Yellow Springs and he told me about Glass Axis and the Springfield Museum of Art. A few weeks later I took a short class at the Springfield Museum of art. The teacher at Springfield, Aimee Sones was very involved with Glass Axis and encouraged me to take classes there. I started at Glass Axis in the summer 2009 with Sunday morning Glass 1, then Glass 2 in the fall. That started my regular Sunday morning slot with one of my class mates Marty Maki that lasted until Fall 2013 at Glass Axis. In 2013 I got the parts together to build a studio in Piqua and now blow there most of the time and still work with Marty most Sundays. In that time I’ve seen many students and instructors come and go, got to know many of the regulars, and I have seen a lot of cool demos.
Orange Plate with Flowers
14 in X 14 in
Activity in Space, 2014
8 in X 8 in
After a lady from church taught me the basics of stained glass I started a series of self-taught projects, from nightlights to window panels. After several nightlights which I sold were mishandled by customers, requiring repairs, I began to look for something sturdier. Someone at work suggested I join Glass Axis. I joined in 2000 and took three fusing lessons, beginning, intermediate and advance lessons on fusing from Mike McNerney. Denise Novak was also one of the students of Mike’s. Later I travelled to Chicago and took a week’s class of advance fusing with Patti Grey of Spectrum Glass. As I progressed in experience I decided to take a two week course in glass etching in Santa Fe and later combined the newly learned techniques with my fusing techniques to create more unique pieces.