Working with abrasive spinning wheels, the Ferro brothers cold work glass vessels in brilliant colors. Their dramatic cuts are sometimes five layers deep, and they cradle each piece for hours, days, and often weeks, painstakingly grinding away to reveal what lies underneath. There is always the danger that the piece will shatter, so it is a painstaking process. The finished vessel is a passionate work of art in vibrant translucent colors and energetic textures.

Pietro and Riccardo Ferro were born in 1975 and 1980, respectively. Under the guidance of their father, cold-working Maestro Paolo Ferro, the brothers worked in various Murano factories to learn traditional techniques, including different grinding effects such as diamond scribing, stipple engraving and the bold Battuto, which resembles hammered metal.

In 2000, the Ferros opened La Moleria, a workshop for grinding glass, where they created masterpieces for world-renowned artists including Lino Tagliapietra and Pino Signoretto. They also collaborated with famous Murano factories, such as Venini and Seguso. Today, they are more focused on their own unique glass art designs and their work can be found in prestigious public and private collections worldwide. They have visited the US to meet their collectors and demonstrate their methods at the Pilchuck Glass School and the Corning Museum of Glass.

Says Irene McClellan, Duncan McClellan Gallery: “Riccardo and Pietro Ferro represent a new generation of glass artists from the Island of Murano, Italy. Continuing their father’s legacy, they have become renowned coldworking specialists in their own rite. They delve deeply into the possibilities that cutting and carving through layers of glass can reveal and create intriguing textural interest on glass artwork.”

From April 30 to May 18, the Wiener Museum of Decorative Glass (WMODA), Hollywood, Florida, presents Carved in Glass, a selling exhibition of the Ferro Brothers’ new work. Riccardo will attend opening night on April 29. Sergio Gnesin, Italian glass expert and author, serves as guest curator of the show. All art sales benefit the educational programs at WMODA, which is a 501c3 not-for-profit museum.

Says Louise Irving, Executive Director and Curator at WMODA: “Venice has been producing glass since the 10th century, and Murano became the main center in 1291 when glassmakers were ordered to relocate their furnaces to the small island in the Venetian lagoon to mitigate fire hazards. Over the centuries, the Murano masters have changed our perception of glass as an artistic medium. People can experience the magic of Murano at WMODA on Tuesday, April 29, when Riccardo Ferro from La Moleria opens the museum’s exhibition of brilliant carved glass art by the fabulous Ferro Brothers.”

 

Stephanie Trenchard’s multi-disciplinary creative process includes painting and poetry along with cast glass. With a focus on biographical stories of how women artists have navigated careers and partnerships, motherhood and making a living while still focusing on their creative practice, the work also discusses the price the art has to pay in this grand juggling act. The artist prioritizes the actual experience of the work, making and seeing it, over the classification of genre or ownership of an idea. 

Says Trenchard: “I create my own visual vocabulary in storytelling. Using these totems, I tell stories about the artistic experience and the ensuing personal relationships usually based on true stories of artists from history. The subject of these narratives is often revealed in the title of the piece, but it is not necessary that the viewer be familiar with the subject in order to understand the concept because the metaphors are universal to the human condition.” Her work also involves using art as a way to communicate local activism as seen in her project About Sturgeon Bay.

Born in Champaign, Illinois, in 1962, Trenchard earned her BFA in painting from Illinois State University in 1984. Subsequently, she and glass artist husband Jeremy Popelka relocated to San Francisco, California, where Trenchard designed textile patterns, licensed and sold under a private label. Upon returning to Sturgeon Bay Wisconsin in 1997, the couple built a hot shop and gallery that they share to this day. They assist each other with work as well as teaching projects, such as their recent classes in Thailand.

As she assisted Popelka, Trenchard began to see glass casting as a means of translating textile patterns and other imagery to glass. The discovery of Paradise Paints allowed her to combine painting skills with glass art in the development of her award-winning body of work.

Trenchard has developed a unique method of creating art using glass combined with paint. She first creates fully realized figures or objects in clear glass, which are then painted with high-fire enamels that are mixed and blended just as with oil or acrylic paints. Next, these three-dimensional objects or figures are submerged into molten glass encased in cubes and rectangles of clear sand cast glass. Each cube or rectangle is created so that they can be fitted tightly next to one another or on top, making a totem like structure. Coldworking is required to achieve the perfect fit.

She states: “I have been following my own interests and curiosities concerning how these women have navigated their careers and artistic practices. I represent these ideas in glass through the details that speak to me, particularly the ephemera of material culture, furniture and clothing that encapsulate their era and class. I also rely on posture and facial expression to reveal the nature of the subject as I intuit it.”

In addition to teaching in her studio, Trenchard has taught workshops at Pratt Fine Art Center, University of Wisconsin, The Studio at the Corning Museum of Glass, The Bergstrom Mahler Museum of Glass and others. She was a lecturer at the Glass Art Society Conference, Murano, Italy, and established the first hot glass school in Southeast Asia, at Bangkok Glass, Thailand. Recent exhibitions include: Beyond Giving, Inspiring Change, Singapore Art Week, Singapore; Matriarchs of Mastery, Habatat Gallery, Detroit, Michigan; A Creative Place, Trout Museum, Wisconsin; and Beyond the Ceiling – Women of Studio Glass, Sarasota, Florida, Habatat Invitational, Michigan. Awards include Trenchard’s 2025 Featured Poet award, presented by After Hours Journal, Chicago; 2023, 2024 Prize Winner at Habatat International Exhibition; and the 2020 AACG Wisconsin Artist Series at Bergstrom-Mahler Museum of Glass.

Says Trenchard: “Telling stories is what cultures do to understand the history and identities of the people. The small details in my work open up a conversation about the personal experiences of women in the arts as interpreted through history.”

 

For more than three decades, trailblazing artist and activist Joyce J. Scott has elevated the creative potential of beadwork as a relevant contemporary art form. Scott uses off-loom, hand-threaded glass beads to create striking figurative sculptures, wall hangings, and jewelry informed by her African American ancestry, the craft traditions of her family (including her mother, renowned quilter Elizabeth T. Scott), and traditional Native American techniques, such as the peyote stitch. Each object that Scott creates is a unique, vibrant, and challenging work of art developed with imagination, wit, and sly humor.

Born to sharecroppers in North Carolina who were descendants of enslaved people, Scott’s family migrated to Baltimore, Maryland, where the artist was born and raised. Scott hales from a long line of makers with extraordinary craftsmanship adept at pottery, knitting, metalwork, basketry, storytelling, and quilting. It was from her family that the young artist cultivated the astonishing skills and expertise for which she is now renowned, and where she learned to upcycle all materials, repositioning craft as a forceful stage for social commentary and activism.

In the 1990s, Scott began working with glass artisans to create blown, pressed, and cast glass that she incorporated into her beaded sculptures. This not only allowed her to increase the scale of her work, but also satisfied her desire to collaborate. In 1992, she was invited to the Pilchuck Glass School, Stanwood, Washington. Continuing her interest in glass, Scott has worked with local Baltimore glassblowers as well as with flameworking pioneer Paul Stankard and other celebrated glass fabricators. In 2012, Goya Contemporary Gallery arranged to have Scott work at Adriano Berengo’s celebrated glass studio on the island of Murano in Italy, creating works that were part of the exhibition Glasstress through the Venice Biennale.

Scott has worn many hats during her illustrious career: quilter, performance artist, printmaker, sculptor, singer, teacher, textile artist, recording artist, painter, writer, installation artist, and bead artist. Her wide-ranging body of work has crossed styles and mediums, from the most intricate beaded form to large-scale outdoor installation. Whether social or political, the artist’s subject matter reflects her narrative of what it means to be Black in America. 

Scott continues to live and work in Baltimore, Maryland. She received a BFA from the Maryland Institute College of Art and an MFA from Instituto Allende in San Miguel de Allende, Mexico. Selected solo museum exhibitions include The Baltimore Museum of Art (2024); Seattle Art Museum (2024 – 2025); and Grounds for Sculpture (2018), Trenton, NJ. She is the recipient of myriad commissions, grants, awards, residencies, and prestigious honors including from the National Endowment for the Arts, Louis Comfort Tiffany Foundation, Anonymous Was a Woman, American Craft Council, National Living Treasure Award, Lifetime Achievement Award from the Women’s Caucus for the Arts, Mary Sawyers Imboden Baker Award, MacArthur Foundation Fellowship (2016), Smithsonian Visionary Artist Award, National Academy of Design Induction, and Moore College Visionary Woman Award, among others.

In March of 2024, Scott opened a major 50-year traveling Museum retrospective titled Joyce J. Scott: Walk a Mile in My Dreams co-organized by the Baltimore Museum of Art and Seattle Art Museum. Also in 2024, Scott opened Bearing Witness: A History of Prints by Joyce J Scott at Goya Contemporary Gallery. Her latest exhibition, Joyce J. Scott: Messages, opened at The Chrysler Museum of Art on February 6, 2025 and will run through August 17, 2025 at the Glass Projects Space. This exhibition is organized by Mobilia Gallery, Cambridge, MA.

Says Carolyn Swan Needell, the Chrysler Museum’s Barry Curator of Glass: “We are thrilled to host this focused traveling exhibition here in Norfolk at the very moment when Scott’s brilliant career is being recognized more widely, through a retrospective of her work that is co-organized by the Baltimore Museum of Art and the Seattle Museum of Art.” 

In Messages, 34 remarkable beaded works of art spanning the artist’s career express contemporary issues and concepts. Included in the show is Scott’s recent beaded neckpiece, War, What is it Good For, Absolutely Nothin’, Say it Again (2022). A technical feat in peyote stitch, infused with color and texture, this multilayered and intricate beadwork comments on violence in America.

Embedding cultural critique within the pleasurable experience of viewing a pristinely crafted object, Scott’s work mines history to better understand the present moment. The visual richness of Scott’s objects starkly contrasts with the weight of the subject matter that they explore. She says: “I am very interested in raising issues…I skirt the borders between comedy, pathos, delight, and horror. I believe in messing with stereotypes, prodding the viewer to reassess, inciting people to look and then carry something home – even if it’s subliminal – that might make a change in them.” 

 

self-described loner, Joel Philip Myers developed his skills in relative isolation from the Studio Glass movement. With works inspired by a vast array of topics ranging from his deep love of the Danish countryside to Dr. Zharkov, the artist avoided elaborate sculpture in favor of substantial vessels that are simple yet powerful.

States Myers: “In 1964, on the occasion of an exhibition titled Designed for Production: The Craftsman’s Approach, I wrote in an essay in Craft Horizons magazine: ‘My approach to glass, as it is to clay, is to allow the material an expression of its own. Press the material to the utmost, and it will suggest ideas and creative avenues to the responsive artist.’ The statement was sincere and enthusiastic, but decidedly naïf. I never thought when I wrote it that it would be the one statement of mine that would continue to be repeatedly quoted, throughout my 46- year-long career, as my defining philosophy. I have no defining philosophy. I am a visual artist, not a philosopher. Thoughts and ideas and opinions do not constitute a philosophy, and my thoughts and ideas and opinions have evolved and matured and changed in the time that has passed since 1964.”

He continues: “As an artist I like to think of myself as a visitor in a maze, trying to find a solution to a dizzying puzzle. As in a maze, I have, through blunders and exploration, arrived at solutions, and embraced the manifold possibilities that the material offers: plasticity, transparency, opacity, translucency. I am sensitive to the wonders of the visual world and inspired by the forms and colors of the natural world. My training as a designer has enabled me to understand and exploit organization and structure, adding a rational perspective to my intuitive, emotional self.”

Myers earned his degree in advertising design from Parsons School of Design in 1954. He studied in Copenhagen, Denmark, before earning a B.F.A. and M.F.A. in ceramics from the New York State College of Ceramics at Alfred University in the early 1960s. In 1963, he was hired as design director at Blenko Glass Company in Milton, West Virginia. Captivated by the drama of this thriving glass factory, he learned glassblowing through observation and practice. 

In 1970, Myers established the nascent glass department at Illinois State University in Normal, Illinois, where he served as Distinguished Professor of Art for 30 years until he retired from teaching in 1997. He is an Honorary Lifetime Member, 2012 Lifetime Achievement Award Winner and past President of the Glass Art Society, a Fellow of the American Crafts Council, and the recipient of a National Endowment for the Arts Fellowship. His work is represented in prominent museum collections around the world, including The Corning Museum of Glass, Corning, NY; The Art Institute of Chicago, Chicago, IL; the National Museum of American History, Smithsonian Institution, Washington, DC; the Smithsonian American Art Museum, Washington, D.C; The Museum of Decorative Arts, Prague; Hokkaido Museum of Modern Art, Japan; Musee des Arts Decoratifs, Palais du Louvre, Paris, France; and Musee de Design et d’Arts Appliques Contemporains, Lausanne, Switzerland, amongst others.

Of his sculpture, Myers states: “My work is concerned with drawing, painting, playing with color and imagery on glass. I work with simple forms and concentrate on the surface enrichment. I prefer the spherical, three-dimensional surface to a flat one, because as I paint and draw on the glass, the glass form receives the drawing, adapts to its shape, distorts and expands it as it clothes and envelops itself in my drawing. I feel a communication with the material, and a reciprocation from my subconscious, as I continually search for new insights into my unknown self.”

Enjoy this enlightening conversation with Myers, who at 91 has a near photographic memory of the events and developments that spurred the Studio Glass movement forward in its early days, as well as the ideas and processes of his personal work in glass – some of the most successful and collected of its day.

 

Perceiving her role as a record keeper, artist Jen Blazina captures the essence of lost memories and forgotten voices. Through her work, she holds onto fragments of personal history, transforming common objects into poignant relics of the past. Her visual narratives express universal concepts of memory, inviting audiences to connect with the stories she preserves. 

Blazina states: “Memory is embodied in everything around us: in our culture, beliefs, objects, and ourselves. Discarded objects and those passed down to me become personal keepsakes and icons of the past, rather than overlooked or regarded as useless. My collections represent a sense of holding onto a place in time. By re-creating these keepsakes, I re-cast their history into my own voice.”

A sculptor and printmaker who uses glass as her primary medium, Blazina currently resides in Philadelphia where she is a working artist and professor at Drexel University in the College of Media Arts and Design. Blazina’s work can be found in multiple collections such as the Neuberger Museum of Art, The Imagine Museum, The Cranbrook Museum of Art, and the Corning Museum of Glass, to name a few. 

The artist has been awarded numerous residencies including: the Corning Artist in Residency at the Corning Museum of Glass in Corning, New York; GAPP Residency at Toledo Museum of Art in Toledo, OH; Bezalel Art and Design Academy in Jerusalem, Israel; and the Creative Glass Center of America in Millville, NJ.  She has also been awarded prestigious grants such as the Bessie and Louis Stein Fellowship; Independence Foundation Grant; and a National Endowment for the Arts Grant. Nominated for the 2022 Pew Fellowship Award, Blazina received her M.F.A. in printmaking from Cranbrook Academy of Art, her B.A. from Sarah Lawrence College in New York and her B.F.A., cum laude, from the State University of New York at Purchase College. 

Blazina is represented by Habatat Detroit Fine Art in Royal Oak, MI; Blue Spiral 1 in Asheville, NC; Vetri Glass Gallery in Seattle, WA; Kittrell Riffkind Gallery in Dallas, TX; Bullseye Projects in Portland, OR; and Koelsch Gallery in Houston, TX. 

In 2025, Blazina will have work on view at the Bergstrom Mahler Museum of Glass, Neenah, WI, in New Art on the Block: Selections from the Permanent Collections, October 31, 2024 – April 6, 2025; in Object Memory, Jen Blazina and Ash Smith at 20*20 Gallery, Lansdowne, PA, February 22 –  April 15; in Through a Window Darkly, The Works of Jen Blazina at the Bergstrom-Mahler Museum of Glass, April 24 to October 5, 2025; in Collections at Blue Spiral 1 Gallery, Asheville, NC, May 2 – June 25; and in Glass 53: International Glass Invitational at Habatat Fine Art Gallery, Royal Oak, MI, May 1 – September 6. She will teach Alternative Approaches to Printmaking and Glass at Corning Museum of Glass Studios, Corning, NY, June 16 – June 21; and In Pursuit of Light: Kiln Casting at Glass Furnace, Istanbul, Turkey, August 25 – August 29.

Says Blazina: “As an artist, I am intrigued with the idea that what is precious to one person will be discarded by another. My work is influenced by commonplace possessions, familial vignettes and photographs. These evoke an ephemeral sense of past memories. Whether found in a second-hand shop or passed down from my family, I am often attracted to and captivated by the lost beauty of subtle images and materials. By re-creating and casting momentos in glass and metal, I can capture and hold on to another time in the past. Photographs and chosen objects allude to narratives of fleeting moments.”

​UPCOMING EVENTS

New Art On The Block: Selections From The Permanent Collections

Bergstrom-Mahler Museum of Glass

Neenah, WI

Dates: October 31 – April 6, 2025

Object Memory, Jen Blazina and Ash Smith

20*20 Gallery

Lansdowne, PA

Dates: February 22 – April 15

Through a Window Darkly, The Works of Jen Blazina

Bergstrom-Mahler Museum of Glass

Neenah, WI

Opening: April 24

Dates: April 24 to October 5

Collections

Blue Spiral 1 Gallery

Asheville, NC

Opening Reception: May 2, 5 – 7 pm

Dates: May 2 – June 25

Glass 53: International Glass Invitational

Habatat Fine Art Gallery

Royal Oak, MI

Opening: May 3, 8 pm

Dates: May 1- September 6

Alternative Approaches to Printmaking and Glass

Corning Museum of Glass Studios

Corning, NY

Dates: June 16- June 21

In Pursuit of Light: Kiln Casting

Glass Furnace

Istanbul, Turkey

Dates: August 25 – August 29

 

 

Nothing short of inspirational, Martin Gerdin’s journey through crafting wild fish in hot glass is inextricably tangled with his evolution to mental health and sobriety. Beginning during the pandemic, the artist has hand-blown dozens of meticulously detailed trout, salmon, redfish, and other revered gamefish from his glassblowing studio, Gerdin Glass in Crawford, Colorado. The dangers, volatility, and physical labor of blowing glass are symbolic of the challenges he faced and conquered on his pathway to sober living. 

For some, fly fishing is a pastime, something fun to pursue on a long weekend or camping trip with friends and family. For others, it’s a calling, a religion, lionized in the literary creations of Ernest Hemingway and Norman Maclean among many others. Gerdin clearly falls into the latter category. He states: “Some say fly fishing is an art. I spend my days on our stunning Colorado river systems catching beautiful wild trout, and I spend my nights in the studio recreating them in glass. My life is a confluence of passion.”

Gerdin’s father, a professional skier for most of his career, decided to raise his family as far away from civilization as possible. In the Rocky Mountains, some 8,500 feet above sea level, his son’s community was built around skiing, conventional fishing, and dirt bikes. Gerdin’s mother played a central role in his early angling and artistic exploits. “There were two archetypes in my home growing up — the super athletes and the artist fishermen, and nothing in between,” he states. Gerdin and his mother connected through time spent fishing their local waterways while other members of the family were focused on more physically demanding recreation on the mountain. When not on the water, his mother would create complex beaded and woven patterns in her home art studio.

Raised in the wilderness, Gerdin’s childhood fostered a love for the natural forms and colors that surrounded him during his youth, especially those in the rivers. He began blowing glass in 2008, when he discovered the hot shop at his high school, Colorado Rocky Mountain School in Basalt, Colorado, headed by Dave Powers and after Gerdin graduated by Jose Chardiet. Fascinated by the material, he spent every spare moment learning and absorbing as much as he could. Being an avid fisherman, blown glass fish were a natural progression in his artistic journey.

As Gerdin grew, he lost his way. Addiction clawed its way into every aspect of his life, and he lost his vision for the future. Doing craft shows and drinking enough to prevent seizures due to alcoholism became the norm. On May 13, 2020, he decided enough was enough. After addiction treatment he fell into a crowd of young, sober fly fishermen. With a clear head and a fresh perspective, the artist strived to bring the beautiful wild salmonids he saw to life in glass. Since his sobriety date, Gerdin has made more than 700 fish, making his own tools and trying to push the limits in sculpting realism. His collectors are many and include the likes of other fly fishermen such as Kevin Costner and Jimmy Kimmel. 

Moving into the next iteration of his craft, Gerdin is pushing his technical and creative skills to realize a new series of trout, which he calls Naturalisms, stemming from the philosophical idea that everything arises from natural properties and causes. At age 31, his journey is just beginning.

From March 7 -9, Gerdin will demonstrate his processes and techniques at Third Degree Glass Factory, St. Louis, Missouri. Founded in 2002, it is a multifaceted venue for year-round exhibitions, classes, events and studio rental. Register for the Glasma Conference at studioglassbatch.com. 

 

The raw brilliance and color of glass are primary inspirations in Rita Shimelfarb’s work. The deeper she explores the technical side of working with glass, the more it leaves her in awe at the range of possibilities for something new and beautiful to emerge. Building upon the millennia-long tradition of stained glass art, Shimelfarb pushes her material beyond traditional imagery and conventional construction methods by utilizing both time-proven as well as innovative contemporary glass forming and painting techniques. By combining modern and traditional, play and purpose, she makes the seemingly conflicting entities sing together in harmony.

Shimelfarb’s unforgettable series, The Sacred Feminine Grace Archetypes, recognizes the universal interconnectedness and divine essence of all living beings. Through moving portraits of strong, wise and soulful female subjects, the work embodies beauty in movement, thought and action, reflecting an inner harmony that transcends physical appearance. This state is not just external; it is a quality that emanates from within, allowing individuals to navigate life’s challenges with poise and dignity. It’s an acknowledgment that life’s challenges are opportunities for growth, and by flowing with these experiences, one can find wisdom and serenity. 

States Shimelfarb: “The subjects I choose are meant to slow you down mentally for long enough to have the light start working its magic. To me, the purpose of my art is not about making you see something pretty, or having your brain analyze a specific story, or having your heart be overtaken by a specific emotion. It is more about the whole re-tunement. I feel that there is no end to the myriad ways glass allows me to do this. I prefer to mix the techniques, for instance, combining traditional glass painting and contemporary fused elements with dichroic glass. Engineering new ways to not just approximate, but zero in on evoking the exact frequency I am after is a never-ending quest, sometimes frustrating, sometimes surprising, but always hopeful and exciting.”  Born in the USSR in 1972, Shimelfarb immigrated to US from Ukraine in 1989. A refugee, she eventually made Chicago her home. She completed a Bachelor’s degree in Math and Computer Science and finds her analytical background indispensable in solving various glass-construction challenges and in developing new processes for image and medium manipulation. She has worked extensively with her mentor Sylvia Laks, a celebrated stained glass painter, and has taken several glass forming and painting workshops with world renown glass artists.   Shimelfarb has exhibited her work nationwide and is included in numerous public and private collections. Commission work by her Glass Can Dance Studio has been featured on the cover of Ed Hoy’s catalog, at the Ronald McDonald House near Central Du Page Hospital, IL, and at Chute Middle School in Evanston, IL.  In 2025, Shimelfarb will teach a glass painting / mosaic workshop for Campanella Choir kids at the Children’s Educational Center Campanella in Northbrook, IL, March 15 – 16. The solo exhibition of her glass paintings there just closed January 18. She will also teach a glass painting workshop at Delphi Glass, Lansing, MI, April 19 – 20. Her work can be seen in a group show of Chicago area glass painters to take place in April and May at the Illumination Art and Design Gallery in Chicago as well as at EvanstonMade’s summer member exhibit. Meanwhile, there is a new series of glass paintings in progress on her bench with the working title Unintegrated.

Combining technical skill with a strong aesthetic, flameworking pioneer Sally Prasch is known for her work that places other-worldly figures in glowing globes filled with rare gasses. She has also constructed portraits from broken shards of glass and is well known for her goblets made with coiled stems that allow them to bounce when handled. Her latest work incorporates cast bronze with glass.

But perhaps Prasch’s greatest fulfillment has come from teaching. She has taught flameworking workshops at UrbanGlass, Brooklyn; the famous Niijima Glass School, Japan; Pilchuck Glass School, Stanwood, WA; Penland School of Craft, Penland, NC; Pittsburgh Glass Center, Pittsburgh, PA; Grove Gas & Light Co, University of CA, San Diego, CA; Ingalena Klenell’s Studio, Sweden, and many more.

States Prasch: “Teaching has always been a part of my life. My parents were teachers, and both my brother and sister have also been teachers. Lloyd Moore, my first teacher, found it very important not to have any secrets but to share your knowledge with others – share your love of glass and making things. He taught thousands of people, and I continue in his tradition. Lloyd started me teaching at age 15. It was scary for me to teach adults, but made me practice things over and over again. We started people on soft glass tubing and then worked them up to borosilicate.” 

Prasch began her career at age 13 with Moore working as a part-time apprentice at the University of Nebraska and then worked as a glassblowing instructor for the City of Lincoln Recreation Department. Later on, she took workshops from some of the best glassblowers of the time including William Bernstein, Ray Schultz, and Lino Tagliapietra. She attended the University of Kansas from 1977 to 1980 and received a Bachelor’s Degree in Fine Art in Glass and Ceramics. 

After college, Prasch started her glass art business that is still active today. She soon began to receive recognition for her artistic work and was selected for the Corning Museum of Glass’ New Glass Review in 1993. The artist has been attending Glass Art Society (GAS) Conferences since 1978 and continues to participate by giving demonstrations and lec-moes, serving on the GAS Advisory Board and working with the organization’s History Committee. In 1985, Prasch received her Certificate in Scientific Glass Technology from Salem Community College (SCC), Carneys Point, New Jersey. Soon afterwards, she obtained a position with AT&T doing large quartz work for the semiconductor industry.

Continuing with her studies, Prasch earned her degree in Applied Science from SCC in 1986. Later that year she got a job as a scientific glassblower and glass instructor at the University of Massachusetts. She has worked as a scientific glassblower at the University of Massachusetts, Amherst (UMass Amherst), Syracuse University, and the University of Vermont, Burlington. 

Currently, Prasch is the scientific glassblower and also teaches Scientific Glassblowing and the Properties of Glass to graduate students in Chemistry, Art and Physics at University of Massachusetts, Amherst. She is a member of the American Scientific Glassblowers Society (ASGS) and the director of the Northeast section. Her ASGS experience includes participating in seminars on such subjects like vacuum technology, quartz technology, and glass sealing. She has instructed a neon class with David Wilson, presented a paper on her work with the discovery of the gravitational wave, and co-chaired symposiums. 

In 2025, Prasch will exhibit her work in Glass Lifeforms at the Pittsburgh Glass Center, opening February 7 and running through April 20. Her work will also be on view in Glasstastic at the Brattleboro Art Museum, Brattleboro, VT, March 22 through November 1. The artist will teach at the Pittsburgh Glass Center, Pittsburgh, PA, from July 28 – August 1. After curating the annual glass exhibit at Leverett Crafts and Arts in Leverett, MA for the month of November, Prasch will have a one-week fall residency with George Kennard at SCC, as well as a residency at the University of Massachusetts, Amherst.

In 2026, the Herter main gallery at UMass Amherst will host a solo exhibit of Prasch’s work from January 29 through May 8. The opening will take place Friday, April 24, 2026, from 5 to 7 p.m. with an artist talk from 6 to 6:30 p.m. Her work will also be on display at the Science Library and at the Durfee Conservatory at UMass during the show. 

As Prasch develops new work, including pieces for Laura Donefer’s 2026 Glass Fashion Show to be held at GAS, she continues to teach and fabricate scientific glassware at UMass. She says: “I have taught on average 25 students a month for my entire career, only taking a break during the pandemic. Obviously, teaching is a part of me, and I gain so much. It is not about teaching, not about glass, not about notoriety, not about pay – it is about the energy between people. It is about trust.” 

UPCOMING EVENT LINKS

Spring and Fall semester classes and weekend workshops at the University of Massachusetts – Amherst https://www.umass.edu/natural-sciences/research/scientific-glassblowing-laboratory

February 7 – April 20, 2025 – Glass Lifeforms Exhibit, Pittsburgh Glass Center https://www.pittsburghglasscenter.org/event/exhibition-lifeforms/ March 22 – November 1, 2025 – Glasstastic, Brattleboro Art Museum, Brattleboro VT https://www.brattleboromuseum.org/2024/09/06/glasstastic-2025/ March 21 – 23, 2025 – International Flameworking Conference, Salem Community College, Carneys Point, NJ https://www.salemcc.edu/glass/international-flameworking-conference April 5, 2025 – Northeast American Scientific Glassblowers Section Meeting, Cornell University https://northeast.asgs-glass.org/ May 14 – 17, 2025 –Glass Art Society Conference https://www.glassart.org/conference/texas-2025/ July 28 – August 1, 2025 – Teaching at the Pittsburgh Glass Center, Pittsburgh PA https://canvas.pittsburghglasscenter.org/classes/1632 Fall, 2025 – one week residency with George Kennard at Salem Community College, Carneys Point, NJ https://www.salemcc.edu/glass

Fall, 2025 – one week residency at the University of Massachusetts https://www.umass.edu/natural-sciences/research/scientific-glassblowing-laboratory January 29 – May 8, 2026 – Exhibit at the Herter Gallery, University of Massachusetts, Amherst Opening April 24, 5 – 7 p.m. with artist talk 6:00 – 6:30pm https://www.umass.edu/herterartgallery/herter-art-gallery

January 29 – May 8, 2026 Exhibit at the Science and Engineering Library and the Durfee Conservatory https://www.library.umass.edu/sel/ https://www.umass.edu/natural-sciences/research/greenhouses/durfee-conservatory

 

Childhood experiences of life on a sailboat in the Bahamas and Caribbean left a profound mark on Kait Rhoads. The experience of growing up on the water has provided great inspiration for her artwork. The artist’s Sea Stones series hints at its watery origins. Each sculpture is a small world in itself, an intimate object you can hold in your hand. A talisman, the work looks almost molecular, like plankton carapaces as observed under a microscope.

Rhoads states: “My work is inspired by nature and informed by memory. And, three oceans—the Caribbean, the Indian and the Pacific – delineate the imaginative boundaries of my practice. I grew up on the water of the Caribbean in a ship with my family where my deep affinity for biological systems began. I lived surrounded by nature; the liquid light and aquatic life imprinted upon my senses. The sculptures I create emanate from my early experiences within and curiosity about the natural world. While exploring the waters around Bali, I experienced the extraordinary biodiversity and extensive architecture of coral colonies there. This has been a deep influence on my sculptural forms and process of making.”

Best-known for her innovative use of Venetian techniques such as murrine and filigrana, she applies these decorative processes to sculptural forms as well as to vessels. She was influenced early on by Lino Tagliapietra’s work with cane and Richard Marquis’ use of murrine as a structural material. Rhoads’ unique process involves weaving pieces of blown and cut glass tubes with copper wire to create flexible looking “soft sculptures.” 

States Rhoads: “My method of construction mirrors how my life has formed me, with individual elements woven together to create a strong whole. I consider the individual units, conical hexagonal forms known as hollow murrine, as architectural elements that fit together to create a fluid or floating object. The concept of the work develops slowly, and the production of a complicated piece can take months to years to complete.”

Rhoads is also well known for her public art installations including Bloom, commissioned in 2018 for the Bainbridge Island Museum of Art’s two-story tall window space. In 2022, Bloom was chosen to be permanently installed inside of the biology department at Highline College, Des Moines, Washington. She also created Salish Nettles, her largest work to date, for the Pacific Seas Aquarium, Tacoma, Washington, and Proto Kelp, which was on view through October of 2024 at Method Gallery, Seattle, Washington. In 2025, the artist will apply for residencies and funding to expand the project sustainably. In all of these public projects Rhoads hopes to inspire in the viewer empathy, curiosity and interest in ocean ecology. 

Receiving her BFA in glass from the Rhode Island School of Design in 1993, Rhoads earned her MFA in glass from Alfred University, New York in 2001. She has been an Artist in Residence at the Pratt Fine Arts Center in Seattle, Washington, and the recipient of numerous awards, including the Doug and Dale Anderson Scholarship, The Anne Gould Hauberg Award, and a Fulbright Scholarship for the study of sculpture in Venice, Italy. She has exhibited throughout the United States and abroad. Her work can be found in many collections, including the Seattle Art Museum; the Toyama Institute of Glass in Toyama, Japan; the Glasmuseum in Ebeltoft, Denmark; Shanghai Museum of Glass, China; and The Corning Museum of Glass. She maintains a studio in Seattle, Washington.

“The cold, deep green waters of Puget Sound are a more recent source of inspiration in my work.  Since moving to the Northwest over two decades ago, my fascination extended from coral colonies to kelp forests. Seaweed’s pliable forms continually inspire me—they stretch up from the depths, undulate in the shallows, and lie on tidal surfaces. Aquatic life infuses my sculptures with animated forms, sparkling surfaces and faceted exoskeletons.”

In 2025, Rhoads will continue to work on a community generated art project called Fused Together (2021-2025), for which she is the lead artist. She shepards stained glass windows made by the public that are donated to Tacoma libraries. She will also participate in group shows including Habatat’s Glass Coast show at Ringling School of the Arts in Sarasota, Florida, and Women Who Make Glass at the Vashon Center for the Arts, Vashon, Washington, in March 2025.  

Of her work Rhoads states: “I desire my work to be emotionally affective—that it evoke for audiences a similar sense of wonder in our blue planet that continues to inspire me. And even, perhaps, to instill a desire to conserve our fragile aquatic ecosystems.”

 

Weston Lambert transforms semi-precious stones and found rocks into profoundly beautiful, time-defying glass sculptures. By incorporating an original process for laminating the two materials and by cold-working the surfaces of the glass and rock, the artist is able to bring his skill to bear on these objects that seamlessly transform from stone to glass and back again. Lambert’s work is about dualities and the balancing of contrasting forces. He’s looking for the place where transparency/opacity, and ephemeral/eternal coexist, each taking part in creating equilibrium. This dynamic relationship turns fragility into an asset and rigidity into liability.

Lambert states: “In the studio, I accelerate the slow violence of geological processes. My materials are engaged in a condensed passage of time—modified by my brief tenure, on a timeline charted by millennia, not decades. The heat of the kiln allows molten glass to nestle into stone and days of grinding/polishing simulate eons of erosion. In my pursuit of permanence, I create invulnerable, seamless objects that have been broken and mended outside of geological time.”

A sculptor based in Tacoma, Washington, Lambert’s primary media are glass, metal and stone. In 2007, he earned a BFA (Maxima Cum Laude), from the University of Hawaii at Manoa and in 2012, his MFA from Tulane University in New Orleans, Louisiana. In 2010 and again in 2020, the artist was awarded a full-tuition scholarship at Andersen Ranch Arts Center, Snowmass Village, Colorado. In 2014, he was the recipient of the prestigious Joan Mitchell Foundation Career Opportunity Grant, one of two such grants awarded nationally per year.

Lambert’s work has been exhibited worldwide, including SOFA Chicago, The Toyama International Glass Exhibit, and the Cheongju Craft Biennale in South Korea. As a public artist, Lambert has completed prominent commissions including Untitled, at Western State Hospital, Lakewood, Washington, 2023 and Currents, at the Seattle-Tacoma International Airport, Seattle, Washington, 2020. His works have been included in such publications as Sculpture Magazine and Glass Quarterly Magazine. 

In 2024, Lambert’s work was exhibited at Smith and Vallee Gallery, Edison, Washington, and Taoxichuan Glass Studio Gallery, group exhibition, Jingdezhen, China, where he also lectured and demoed. The artist lectured/demoed at Chico State University, California, and on November 23 taught an online class, Making it on Social Media: Aligning Creativity, Integrity, and Studio Success. He has over 350K followers on Instagram. In March 2025, Lambert will participate in a group exhibition at Visu Contemporary, Miami Beach, Florida, and film a class on his process of combining glass and stone at Bullseye Glass Co., Portland, Oregon, available in late Spring.

Of his artwork, Lambert explains: “In the context of human lives, rock embodies strength, consistency, and timelessness. There’s safety in its solidity, but the natural world is in constant flux. Granite and sand share each other’s future—forever shattered and recast. Glass is delicate, but when combined with the durability of stone, the pairing embodies harmony.”