Art and Design

Art and Design, Education, glassblowing

Why Art


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The Preamble

Note: In late October I began to dig out my studio after having sold my home and moved onto the studio property. While renovating a mobile home on the property originally intended for an employee to live in, I decided the best way to do it was if I lived in it during this period of transition. The studio was packed with belongings and I began to move out the things I wanted to keep and toss what I don’t need anymore.

The glass furnace was in the process of being rebuilt when I had a furnace block fall on my hand, nearly pinning me under the block. This catalyzed an effort to do what I had not done in years past, which was to add automation in the form of pneumatic cylinders controlled by foot pedals to open and close furnace doors.  Sounds like a simple thing, and it is, but the implementation wound up being more complicated and drawn out than expected.  But then, this can often be the case when engineering “one-off’s”.

The result has been a subtle but important transformation taking place at the studio.  The vent hood,which controls the ventilation was also updated in a significant way, essentially enclosing the vent hood completely in order to help make evacuating hot air from the studio more effective.  It will result in a more comfortable experience for me, my assistants, and for those taking classes there in the future.

The injury to my hand slowed me way down from where I planned on being, but it also opened up a new avenue that I am glad is now largely completed.  Despite delays from the engineering firm, I have managed to get all of the automation done that I have wanted to do for years but never did.  As a result, I am looking to the Fall of 2018 as a time when I will begin holding workshops again while also beginning production work again after a long hiatus teaching at the university.

I will be baking into my design of my website the ability to see the schedule and register for any and all classes from the convenience of your computer or mobile phone.  I am working with a web designer who will be including commerce solutions for purchasing work and for making the process of connecting with the studio more streamlined.  Those changes will be rolled out in the Fall, but for updates and important announcements, follow the studio on Facebook HERE.

If the link doesn’t work for your device, copy and paste this link into your browser:

https://www.facebook.com/Stafford-Art-Glass-273860936858/

 


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The “Why” (and How)

We create to express and communicate ideas, feelings, and experiences. The arc of art is so broad and takes in such broad swaths of considerations and mindsets. It’s been used to express religious fervor and religious ideas, political propaganda, social justice (speaking truth to power) as well as recreating the beauty of nature. Art accepts all comers. The only rule is that there are no rules. You get to make your own. How that winds up turning out is really up to the artist, and if you are a professional artist, your ideas need to hit a nerve in order to gain acceptance most often. If, however, you create art as a hobby, you are the freest of the free; you can create just as you wish to create. I have, as I have gotten older, sought a path through both of these polarities because I have found that my greatest discoveries came when I wasn’t worried about the bottom line. It has also served to inform my teaching at the university level as well as in my own studio.

Glass takes years to learn. It is gymnastic in the sense that there is a lot of muscle memory involved, and all of this takes time and patience.  The best glass workers have been at this for their whole lives and they make what they do look easy when it is anything but that.  When I began introducing people to glass I realized that there is this considerable gap that exists with people and their skill level in glass that disrupted their ability to enjoy the material as an expressive medium. As a result of this, I developed a way of working with students in the studio to help fill the technical gap for the time being and working on what they can do on a technical level straight out of the gate in producing glass objects.  This method has resulted in being able to give people from all walks the fullest experience in glass possible without having to spend years developing the requisite skills necessary.  Since glass is a very expensive medium, it makes learning very expensive also.  Not everyone wants to be a maestro, some are content with running around the block to see what glass blowing is all about.

This process is effectively 75% student work with 25% hand-holding by the teacher.  This 25% consists of techniques critical to the successful creation of glass objects and represent a technical level that can take weeks or months to master just one of them.  Instead of taking weeks worth of repetition, I pick up that part and we work together to ferry objects like ornaments, suncatchers, vases, bowls, and paperweights to their completion on a first-go. This is also why the workshops have been so popular.  Most studios do not provide this level of access to the glass for beginners. I have found that by teaching in this way, I can help provide a closeup introduction to glass without years of preparation and work. For those who are serious about learning glass, they will grab the bull by the horns and do what needs to be done to accomplish that level of mastery.  For everyone else, it seems my method as developed works very well for the beginner.

 

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A suncatcher made by a first-time student

 

My process is to encourage the student to follow the glass and what it wants to do.  This may not sound like the kind of control that is necessary for a medium like glass, but over years of experience, glass has a quality that when you allow it to be itself, can and does do some really amazing things.  Instead of working in a precisely controlled way, I suggest more room for surprises to occur for students so they can witness the expressive potential of glass.  As a result there are creations that are far more complex and interesting than if they had been carefully controlled. Don’t get me wrong, control is necessary in being able to reproduce results in a production environment, but this is not what we are doing in a class.  In a class we are trying to get the biggest bang for our buck here: we seek to explore as broadly as possible in a very limited time frame.  The student, then, gets a snapshot of the potential that glass has. The results are nothing short of amazing, though, and is one reason why even when I am not offering classes, I tend on average to field three to four inquiries a month about classes even though I have not offered them now for a number of years.

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Closeup of a student suncatcher

Some folks are content sitting and watching glass being made in the studio. The ability to sit and watch glass being blown is free here at the studio.  We encourage everyone who wants to to sit in and learn a thing or two. For those who are not content to sit on their hands and watch, there are the classes.

If you are interested in classes, or just to come watch glass being blown, announcements will be made publicly on my Facebook page. Classes will include offhand glassblowing, and torch worked glass (bead making). Glassblowing will be available first while the bead making studio has to be built around the torches I already have in-house and will take some time to build the tables, venting, and small kilns, tools, etc., in place before classes can be offered. My hope is that I will be offering both by next Fall. Please “like” my Facebook page  to remain up to date on events and classes there. For those who want to know when a class is being offered, I recommend also that you email me at info@staffordartglass.com and include “classes” in the subject heading.  This will enable me to bring up all of the inquiries over a period of time and respond to them very quickly and easily.  And no, we wont spam you.  If you want off the list, you will be removed promptly.  For the rest, there is the Facebook page below:

https://www.facebook.com/Stafford-Art-Glass-273860936858/

Art and Design

The New


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Large companies can pour millions into new products each year, hiring experts called consultants to help direct them in their dream of new products and new directions for their businesses.  In the world of the artist, this too also happens, but on a mini-micro scale.  You wake up one morning and you say to yourself that an old idea that has been rolling around in your head and heart needs to be embarked on.  For an artist, this means hundreds of hours  of learning this new kind of work and who knows how much money poured into the effort.  When it comes to something like this, there is absolutely no guarantee of any sort of return.  You go by your instinct, your gut, and your wits.  And you want to know something?  My experience has been that many of my most compelling and interesting designs that I personally love often find only a luke-warm reception at least in the beginning.  I have actually shelved what would later become one of my most popular pieces for over a year before returning to it.  When it hit the shelves people looked at it like it was something from another world.  That is to say, they didn’t see it as the unique thing that it was; they saw it as unrecognizable.  This is sometimes the problem with the new.

Before a line of new work is even hot off the presses, it comes under no scrutiny, no flag waving crowds or lines of adoring fans.  Unless you can do something that often strikes most artists as utterly distasteful: you hype the living shit out of it.  You hype it so that normal people who have never bought art before sit up and take notice.  They take notice because, well, they are so tuned into the hype.  I am not talking about what an artist normally does to promote themselves. I am talking about what some people will do in order to bring in the crowds, people who might not have come in the first place.  These people are more drawn by the interest of others, the crowd, the feeding frenzy.  To do this on a large scale means celebrity or the feeling of possible celebrity.  And who doesn’t love a celebrity?  A quiet unknown who is rising through the ranks?  Still, its hype most often, anew form of hype that doesn’t look like hype but still…it is.

The truth is, there is a very small number of people who don’t see the hype, don’t care about the hype and buy with their heart.  And these people are actually the visionaries, the people there when the work was not hyped, was actually affordable, and are often of modest means.  the people who come rushing for the hype are the folks who will put down $40,000.00 for the “next big thing” because, well, it looks good on them or in their house.  What we are talking about is status.  It is also worlds away from authentic art making (unless you create artifice  in order to pander to the rich).

Artists are often caught in this odd cross-fire of authenticity meeting popularity when things take off for them.  The desire to hype can get the better of some art dealers and gallery owners, and artists too.  Look, we all want to prosper, but at what price does this happen?  For those who “make it” there are now funds that allow a person to do so much more than wonder if they will make the bills this month or the next, whether the six thousand poured into the new line of work will yield anything of substance. The number of artists who were obscure in their time is right up there with the fervency of hype.  Renoir would say how he bought his villa with a painting of an empty vase sold ten years previously.  Picasso would sign checks knowing they would never be cashed because, well, his signature. It is indeed a strange world.

But look, the lifeblood of an artist isn’t the money.  It is the excitement over the next new thing, the new idea, the new process, the new way of saying perennial messages that have been born into each generation and recur in slightly different ways from one century to the next.  Our dreams are those of the Romans, the Greeks, the Pelleponesians, the Shakespeares, the kings and queens of Ur, all told now in a recognizable dialect.  Before it is a “thing” we are there in the innocence of the moment in the studio, scribbling on napkins, sending notes to friends, or making the discovery that could change a lifetime.  We were the true believers before anyone dared to even dream it.  It is this piece of our lives that the beloved collector wants a piece of…the early work, albeit a little rough around the edges, but is work that suggests that there are more pieces that will follow, and if the artist is lucky enough to sell enough to fund the next round of work, they do, and the work evolves.  And hopefully, the work evolves fast enough that it stays ahead of the curve so that the artist can turn enough of a profit so that s/he can make more….and survive to make for another day.  This is not an easy proposition because artists have to be both lovers and shrew business people.  I can tell you that it is hard to do both equally well, and as history shows us, artists tend to be lovers over the shrewd type.  This is so because it takes a huge amount of passion just to get your through the 80 hour days, weeks, months, that are required to become good at something.  And for an artist, this can mean remaking yourself with new techniques and ways of working every once in a while.  You don’t get there with shrewdness.  You don’t calculate passion or love.  You simply have to have it in you as a lover.  And like all great lovers, you can’t be thinking about dollar signs when you are throwing yourself into the next big thing.  To do this requires a singular sense of authenticity, passion, and love.  Anything else simply robs the work of the life that animates the work, that gives it that presence that is often unnoticed by the great unwashed but that the lovers of art pick up on and see.  It takes a lover to know a lover, even if one does not make art and the other does.

So it is that yesterday I had this “congealing moment.”  I know how that sounds, but I cannot think of a better term that feels so equal to what actually happens….The moment involved an idea I have had in my head literally for decades that involved a type of work that I have considered doing in glass.  I just wasn’t completely sure how I would do it.  My mind had been putting these pieces together off and on for a long time, but I just didn’t know exactly what the end result would be.  It was a bit like staring at Monet’s paintings of haystacks early in the morning…..they were images that had some shapes, yes, a suggestion of form, but were largely vivid blurs in my mind.  That really is how these kinds of pieces can be in our minds.  I know that other artists do the same thing because I see it in my art students.  They draw a quick sketch and then say, “I will “art it up” Mr. Stafford….you know, I will make it awesome!”

So really what is happening is there is something that is not completely fleshed out for the artist in their mental conception of the work that they just know they will get worked out in the final work. They just know, right? So sometimes that golden moment happens, that bit of genius that flows out into the work, and sometimes it doesn’t.  Sometimes we kind of waive our hands in the air, explaining a new idea without really knowing what it will be like.

(“Insert some kind of colorful awesomeness here _____”)

It isn’t that we are fooling ourselves as artists.  In fact, this sense we often have, that it will be awesome, is quite simply derring-do.  It is born out of confidence in ourselves, and it is ballsy.  As a result, I am loathe to be too critical of it. I was in fact in just such a place, parked with my idea for over a decade (at least) while this idea, apparently, gestated very slowly in my mind or creative spirit.  And then it happened.  It happened very quickly, almost too rapidly for me to even notice.  If I had been too distracted, it would have been gone and I might not have even noticed it.  Look, I have hundreds, thousands, of ideas a lot like this fleeting through me.  It is just how it is.  And most often, this happens in a state that is different form ordinary consciousness.  As a result, unless you sit with the idea and hold it there, it can literally just evaporate in exactly the same way that a dream you had last night is  nearly impossible to recall.  Steve Jobs once described all the things he “knew” when he was on LSD that he completely forgot when he came back down to ordinary consciousness….but he knew that it was something and he wanted to add a little piece of that in his work, which he did.  So, yeah.

I didn’t need LSD to get to that moment.  It was all there, fleshed out in the moment clear as day.  It was so complicated that I knew that in order to work it out, I would have to possibly spend months developing enough elements just in order to develop the work.  These pieces depart completely from everything I have done and dip into art.  How they are done is through a series of layers of imagery that are literally carved out of layers of glass at room temperature and then layered into the glass.  On the one hand, I could wind up with a cheap Venetian looking “fish bowl” (you know those….they look like fish in a bowl and are made by layering all these elements in them) or I could on the other, push the idea so far that I come up with the level of complexity I am looking for, which is not unlike a multidimensional “trip” through a dream world that actually is beginning to look a lot like how complex our lives have gotten today.  The trick, I know, as I waive my hands in the air, is to invest the “landscape” of these glass pieces with the level of complexity that keeps them from being cute or quaint and pushes them into new territory altogether.  And that, dear reader, is the hard part of art.  It separates the girls from the women and the boys from the men.  Hopefully in the end it serves to unite us all in a new kind of vision.  😉

So that is what is on the plate for now.  Naturally, I can’t say too much about it right now, not until I develop the work because until I do that it is much too easy for people to take an idea and run with it.  And that is the other side of the coin, but I will spare you that dimension of our work as artists.

The new work will mean that I will do something unusual, which is I will need to create photographs, images, and drawings, all of which will be put down on paper to form the basis of the imagery that will be cast into place with these pieces.  And to do them well will mean that the imagery remain crisp. That will mean selecting certain colors over others.  There will be choices that will have to be made that will be exacting, like building a three-layered canvas made of glass that you will be able to see through.  Some will seem like dreams, some like memories.  Perhaps some will fill the space with a sense of life.  Will they?  That will be up to all of the efforts made in the studio and out of it.  For now, there is a lot that needs to be done in the moment that will lead up to determining whether this work will be worth the time and trouble.  These are the untold hours, the invisible hours, that go to make a new line of work what it is. And this is the life of the artist.  More than money, more than anything else, this is what gets my blood pumping.