Emerging Artists In Residence Program

2020 RESIDENCY DATES:
OCTOBER 6 - NOVEMBER 22, 2020

Applications for 2020 EAiRs Programs have now closed (the deadline was January 15). Please stay tuned for 2021 Residency Opportunities.

The EAiR Program supports artists who are making a transition in their professional lives. Whether moving from academia to a professional studio practice, taking up a new medium, or beginning a new body of work, artists find this independent residency ideal for contemplation, research, and experimentation. The program provides artists with a place and the time to develop an idea or project in glass, with the potential for realizing a new body of work. 

The residency requires a project proposal and supports kilnworking, coldworking, printmaking, and use of mixed media but not hot glassworking. The EAiR program is an independent artist’s residency, so no instruction is available and some glassmaking experience is required.

Residents have access to many Pilchuck studios, including the glass-plate printmaking (vitreography) studio; plaster studio; fusing, slumping, and casting kilns; flameworking torch; and coldworking equipment. No hot glassworking is available.

The residency requires full-time participation by six artists. Residents should expect to partake in communal studio clean-ups and be available to visitors, among other activities.

Included in the residency award is a stipend of US$1,000 per artist, open studio space, shared cooking facilities, and a private room in a cottage with shared bath. Materials, instruction, food, and travel reimbursement are not provided.

For more information, please contact the registrar, at registrar@pilchuck.org or 360.445.3111 ext.29

Pilchuck extends its gratitude to Chihuly Garden and Glass, National Endowment for the Arts, and generous individuals for their support of this program.

 

MEET THE 2020 JURORS

SUSIE J. SILBERT

Susie J. Silbert was appointed curator of modern and contemporary glass at Corning Museum of Glass, New York, in 2016. Trained in glassworking and design history, she is motivated by the complex and intertwined histories of material, making, and makers in all media. As part of her curatorial role at the museum, Silbert serves as the editor of New Glass Review, an exhibition-in-print designed to provide a snapshot of global glassworking on an annual basis, selects the recipient of the museum’s annual Rakow Commission, awarded annually to an artist not currently represented in the museum’s collection, and serves on the committee for the Specialty Glass Residency. She is the curator of New Glass Now and the co-curator, with Colleen McFarland Rademaker, of New Glass Now | Context.

Prior to joining the museum, she was an independent curator working across disciplines, as well as a lecturer on the history of glass at the Rhode Island School of Design, Providence. Her exhibitions include #F*nked!, exploring the relationship between digital interfaces and handmade objects at the Kansas City Art Institute, Missouri; Concept:Process, at Parsons The New School for Design, New York; Material Location at UrbanGlass, Brooklyn; and SPRAWL, an interdisciplinary exhibition interpreting urban development at Houston Center for Contemporary Craft, Texas. Her writing has appeared in exhibition catalogs for Chrysler Museum of Art, Norfolk; The Museum of Fine Arts, Houston; Houston Center for Contemporary Craft, The Center for Art in Wood, Philadelphia; and UrbanGlass as well as American Art CollectorGLASS QuarterlyMetalsmith, the American Craft Council website and the book CAST, on casting in all media, edited by Jen Townshend and Renee Zettle-Stirling.

Silbert holds an MA in decorative arts, design history, and material culture from Bard Graduate Center, New York.

cmog.org/bio/susie-silbert

 

KATELYN NORRIS

Katelyn Norris is the director of Koplin Del Rio Gallery, Seattle. Prior to this role, she served as corporate social responsibility program officer at Christie’s; New York, where she developed and implemented the company’s first CSR program centered around cultural stewardship, sustainability, and philanthropy, in addition to overseeing major benefit sales. Before joining Christie’s in 2011, she held a project management role for an independent art advisor, and served for several years as operations director for the Maasai Wilderness Conservation Trust; a conservation focused nonprofit in Kenya.

She has been a member of the Young Patrons Committee for the New York Foundation for the Arts; ArtTable, New York; and served as the executive board chair of New York-based arts education organization, Project Art. She was a juror for the Brock International Prize in Education Innovation in 2017. She is a trained (if somewhat reluctant) charity auctioneer, having raised more than $500,000 for nonprofit organizations to date.

koplindelrio.com

 

CHARLOTTE POTTER

Charlotte Potter is a conceptual artist and designer who has shaped her professional practice around her curiosity, passion, and enthusiasm about glass. She received her MFA from the Rhode Island School of Design, Providence, in 2010 and a BFA from Alfred University, New York, in 2003.

In this age of over-connectivity, Potter’s studio practice seeks to visualize relationships and the impact they can have on the self/self-identity, often employing a combination of new and old technology. Gravitating towards glass as a material and inspiration because of its ability to hold a dual identity; as hot and cold, fragile and strong, elastic and brittle, her works materialize as installation, sculpture, performance, and video.

In addition to her personal studio practice, Potter has pioneered the field of performance glass in her work as the glass studio manager and programming director at Chrysler Museum of Art, Norfolk. An avid educator, Potter founded and mentored the Studio Assistantship Program at Chrysler and has taught glass and new media courses at universities and summer programs such as Penland School of Craft, North Carolina, and Ox-Bow School of Art, Michigan.

Another facet to Potter’s practice is to bring contemporary art into the public, and to create opportunities for viewing art in the collective space. Potter has co-founded two performance glass troupes, Cirque de Verre and the Glass Theater, as well as being a co-founder of the Neon Arts District, Norfolk; the director of Grand Point Weird, a contemporary art component to the Grand Point North Music Festival, Vermont.

She has served on the Glass Art Society Board, and was the co-chair of the 2017 Glass Art Society Conference. Her work has been exhibited internationally at galleries, museums, and universities and is included in numerous public museum and private collections. She is represented by Lisa Sette Gallery, Phoenix, and Heller Gallery, New York. Currently Charlotte lives and works in the wilds of Vermont as a mother, maker and seeker.

charlottepotter.com  |  charlottepotterdesigns.com 

 

MEET THE 2019 EMERGING ARTISTS IN RESIDENCE

SEPTEMBER 30 – NOVEMBER 20, 2019

 

Bri Chesler is a multi-disciplinary artist currently residing in Seattle, WA. Originally trained in other mediums, her work tends to be primarily in glass and mixed media. In her work, Chesler aims to capture the visceral experience of our carnal nature as freakishly alien and indifferent. She received a BFA in Sculpture from Kansas City Art Institute, where a strong interest in transparency and molten media lead her to explore glass. In 2012, Bri attended Pilchuck Glass School and was introduced to flameworking in a course with Matt Escuche. Enchanted by the material, she continued to seek the opportunity to learn how to blow glass in the hot shop, returning to Pilchuck in 2015 to attend Niko Dimitrijevic’s introduction to glassblowing course. Chesler currently designs and creates glass work for various studios in Seattle and was recently featured in Bellevue Arts Museum’s Biennial 2018: BAM! Glasstastic exhibition.

brichesler.com

Katherine R. Clements’ work engages stages of the adaptation of ‘fashions.’ How taste, even ‘bad taste’ can be celebrated in aristocratic society, but once mimicked by a different social sphere it can become kitsch and regarded as ‘aesthetic slumming.’ Clements received her BFA from Kansas City Art Institute in Kansas City, MO and MFA from Tyler School of Art in Philadelphia, PA. Her work has been featured in various exhibitions, most recently in The Uncommon Apron, a group exhibition at Peters Valley School of the Arts in Millersville, PA, and in her own solo exhibition SHADOWLANDS at Ken Saunders Gallery in Chicago, IL.

kate-clements.com 

 

Gracia Nash is a glass, performance, and multi-media artist based out of Rochester, New York. She graduated from the New York State College of Ceramics at Alfred University in 2014 with a BFA and a minor in Education with honors. She recently completed an MFA in Glass from Rochester Institute of Technology’s School of American Crafts, exploring the aesthetic and conceptual possibilities of glass, while maintaining a sense of play and appreciation for material process. Her work explores the body, identity, and perception, and has been shown internationally in Japan and Norway, as well as in the United States.

gracianash.com

Patricia Sichmanova is an emerging glass artist from Slovakia based in Bergen, Norway. In 2017, she graduated with a master degree from the AFAD in Bratislava, Slovakia with the highest honors. Her diploma project won third place in an international exhibition of glass art graduates Stanislav Libensky Award. During my 6-year studies of glass art I undertook several foreign exchanges and participated in symposiums in Norway, Finland, and other countries. But for me the most important was the last year when I was granted a position as an intern at S12 Galleri og Verksted in Bergen which later got prolonged and where I currently work as an artist, workshop and gallery assistant. 

sichmanova.sk 

 

A Virginia native, Heather Sutherland recently graduated from the University of Wisconsin with an MFA in Glass. Her body of work combines glass and various materials and language to depict concepts of gender, commodity, luxury, and labor. She has worked with institutions including Chrysler Museum Glass Studio, Tidewater Community College, Pilchuck Glass School, among others, and taught a few summer courses at the University of Wisconsin in Madison. In 2018, she was selected as a fellow for the Creative Glass Center of America with WheatonArts.

hsutherland.com 

 

Karlyn Sutherland graduated with a practice-based Ph.D. in Architecture from the University of Edinburgh in 2014; her research examines the dialogue between the haptic, hands-on acts of making and the human sense of place and attachment. She began working in glass in 2009 when her exploration of these topics led to her enrollment in a master class at North Lands Creative Glass in her hometown of Lybster (Caithness, Scotland). She exhibits internationally, with her work playing a critical role in the development of her academic research, and vice-versa. She was a 2016 Endeavour Research Fellow in the Glass Workshop of the Australian National University, Canberra, and in 2017 was named by Corning Museum of Glass as the recipient of the 32nd Rakow Commission. Most recently Karlyn was Artist in Residence at Toyama City Institute of Glass Art, Japan.

karlynsutherland.co.uk