Images will reflect the artist journey through 26 years of creating work and innovating the process of Pâte de Verre.

Discover the versatility of Zircar Mold Mix 6 in this mold-making workshop. Attendees will learn how to cast wax positives using alginate and transform them into durable Zircar molds.

Do you want to work like a painter and mix and control colors with precision? My method of pâte de verre gives you control and predictability when working with color.

Throughout this presentation I will share my artistic life story from my beginnings in glass engraving to my current work, demonstrating how I create my intricate bee's wax models for lost wax kiln casting.

Starting with slide presentations, we will examine the problems encountered when scaling castings up in size and weight.  At the end of the lecture, we will cut a large completed casting out of a mold to see the results made possible with these materials and techniques.

My presentation will endeavor to take the mystery out of what is a simple technical process and share knowledge I have gained through fifty years of studio practice. I will focus on multiple part investment mould-making and core-casting.

Mapping the trajectory of Manousis’ practice-based PhD, this lecture explores the reflective potential of cast glass as a canvas for a range of mirror effects. With over a decade of enquiry, she will share how mould fabrication, glass bodies, refractories, firings and original models affect surface precision and translucency.

Glass is the final step in an often long and laborious process that uses proxies and stand-ins along the way. The casting process is generally executed in 6 - 12 hours, but the steps to get the mold into the kiln and then the steps out of the kiln are rarely discussed.

This presentation will focus on coldworking techniques tailored to the needs of glass artists working in the kiln.

Translucency, opacity and sustainability: The shifting perceptions of narrative. In this lecture Tone Ørvik opens up the vast, rich narratives created by contemporary glass artists in cast glass and Pâte de Verre.

Having spent over 28 years at the nexus of communications between artists working with Bullseye Glass in kiln-casting operations, while also hosting visiting artists and overseeing large-scale fabrication of works in glass, Sawyer has seen - and been party to solutions for - issues great and small. He will share a distillation of what he's learned and share some case studies.

This lecture will present my research into the vast potential of found, reclaimed, and recycled glass for use in casting and kiln forming. Guided by a slideshow of process images, I will use physical tests and real-life glass samples in order to share tips for how to best determine annealing, compatibility, and flow for found and recycled glass bodies.

This will be a step by step show and talk of making an investment mould for kiln-casting glass. Using a hollow 3D print with internal detail, I will set it up, mix and apply the refractory investment.

This presentation explores a 40-year journey with various types of glass: from dumpstered plate glass, to container glass, to the clarity of Gaffer lead crystal, to the cornucopia of Bullseye. I’ll share images of techniques and leave ample time for questions. Glass is a hard mother, but if you follow her simple rules, she will reward you with endless possibilities.

Success, failure, and problem solving - experimentation is the core of a journey into glass casting. Discover the endless possibilities of glass mixing and the limitations of commercial glass.

Most products are designed to be seen. Jakub Pollág designs to be understood. In this talk, he dissects the decisions behind his work — the materials, the manufacturing, the meaning — and makes the case that quality isn't a finish. It's a way of thinking. Why does it take time? What quality costs, what it reveals, and why it's worth it.

coming soon

Join moldmaker Greg Allen and glass artist Adam Holtzinger for a lecture and live demonstration exploring how ideas become mold-blown glass. Beginning with the fundamentals of mold design, materials, and fabrication, they will examine how artistic intent is translated into a functional tool and ultimately into a finished object. Through three live demonstrations, attendees will see how different mold designs influence the making of glass while revealing the collaborative process between designer, moldmaker, and glassblower.

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Felicia Hung is the co-founder of In Common With and Quarters. Her design practice is driven by an obsession with craft, materials, and the often-invisible processes that bring objects to life. She and co-founder Nick Ozemba launched In Common With in 2018 as a studio that operates on this shared ethos, integrating traditional modes of making with modern, scalable production. Since their founding, Felicia has led the development and manufacturing of the brand’s modular lighting and homeware collections, building frameworks that allow handcraft and experimentation to live in concert with precision and scale. Her focus extends beyond design to the complex, collaborative systems that make it possible to create objects with this synthesis of creative rigor and adaptability. In 2024, she expanded this vision with the opening of Quarters, a concept store and gathering space in New York where her commitment to process translates into products that are as meticulously engineered as they are unexpected and alive. Between both these brands, Felicia continues to expand the definition of design entrepreneurship, grounding it in structure and systems design while leaving room for curiosity, collaboration, and change.

We seek to reclaim the term materialism — not as a symbol of empty consumerism, but as a meaningful practice: shaping our future through form and matter. For most of our history, life adapted to the material world around us. That changed the moment we discovered tools, technology and architecture. Human history can be read as a story told through materials — each breakthrough marking a new chapter in our evolution: the Stone Age, the Bronze Age, the Iron Age, the Silicon Age. In this spirit, we invite you on an odyssey, as seen through the works of BIG.

In an industry where every project is unique and failure can be costly, how can glass studios build businesses that are both creative and scalable?

In Thinking Vertical, Matthew Day Perez explores Shiny Sparkle Studio's pursuit of vertical integration as a strategy for increasing efficiency, reducing waste, and creating long-term sustainability. Drawing on the philosophy of "more Ford, less Ferrari," Perez will discuss practical approaches to standardizing production where possible without sacrificing creativity.

The session examines how integrating fabrication, education, material sales, and community can strengthen a studio's resilience. Perez will share how Shiny Sparkle Studio uses its educational programs to absorb excess material, cultivate emerging artists and designers, and transform waste into opportunity, creating a more sustainable and economically viable ecosystem.

Joe Cariati and Austin Fields bring two distinct philosophies of glassmaking to the field. Since 2007, Cariati established his presence in the design world before evolving into a direct-to-consumer and interior design-focused business. His practice is defined by precision, restraint and execution. Austin Fields approaches glass from the opposite direction. Her work is fluid, intuitive and sculptural, expanding into immersive wall installations that transform architectural space through light, reflection and form. Together, their practices explore the dynamic tension between structure and spontaneity, revealing how seemingly opposing philosophies can coexist in their studio.

For over 20 years, R & Company has championed collectible design, advancing the contemporary marketplace and actively growing a global collector base and clientele. Its founders, Zesty Meyers and Evan Snyderman, are widely recognized for identifying rising talent, deepening scholarship about collectible design, and developing new avenues for growth in the industry. Their gallery continues to serve as a critical platform for experiencing twentieth and twenty-first-century objects and for discovering innovative, rare, and significant design.

Join Matthew Day Perez of Shiny Sparkle Studio, Adam Holtzinger and Susan Špiranović of KEEP, and Felicia Hung of In Common With for a discussion on the relationship between fabricators and designers when creating contemporary works and design. Moderated by Adrian Madlener, contributor to Dezeen, Wallpaper and Luxe.

Discover how digital modeling, waterjet cutting, and traditional casting techniques combine to create layered glass forms that would be difficult—or impossible—to achieve by hand. Brian Gillespie shares his process of slicing 3D models, cutting glass sections, and fusing them into intricate castings, including a hauntingly detailed glass-encased human skull.

My two-part presentation will practically display the inserting of murrine sheet patterns and objects into liquid glass in kiln casting, and the making of the murrine for these sheet patterns.

Exploring the science behind Non-traditional Pâte de Verre, this presentation will include the properties of glass powders, binders, and heat’s role in transforming the materials.

This year, The Studio will introduce The James Flaws & Marcia Weber Casting Center, a dedicated foundry and resource center focused on advancing cast glass. This talk will explore the center's mission to provide artists, designers, architects, and others with the tools and support needed to realize their ideas in this dynamic medium.

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Sharing experiences and information is an integral part of Silvia Levenson's artistic practice. She will present her research and findings on incorporating images and words into kiln-casting objects.

What began as a rather naive interest in melting casting color has evolved into 6 years of exploration and evolved my work and process. Now faculty at Alfred in the Sculpture Dimensional Studies division, what were once small batches have transitioned into larger melts for glass students and billet production for personal projects.

Discover how cast glass can be transformed into dynamic plasma light sculptures. This presentation covers key concepts like core casting and open-face casting as a vessel for plasma, surface preparation, and electrode installation for optimal performance.

In this presentation, I will be digging into finding meaning in a studio practice, using skill sets and methodologies that are accessible and tangible at street level while using glass and craftsmanship as currency in the luxury market.

In Hillary's 20+ years in the furniture business, she is guided to lead MR. by principles that include (but are not limited to) teamwork, respect, creativity, ambition, kindness but will also stand firm and strong, dependability, fun because otherwise what are we doing?, communication and just a deep love for the people and products that she gets to interact with daily. Creating the MR. environment has stretched Hillary creatively in the best ways and her current mantra is "let's get a little bit weird."

The presentation begins with Steven Holl Architects' history of material research and glass, exploring how the firm's interest in light and the haptic realm fostered a culture of experimentation. It then follows institutional projects that led to collaborations with artisans and studios such as Keep Brooklyn. Research at UrbanGlass and Brooklyn Glass, together with artist collaborations, expanded that work into new approaches to mold making, digital fabrication and production, leading to independent work via the Experimental Mold Workshop with Gosia Pawlowska and the research practice Cherry Molds. This talk explores the feedback loop between architectural research, artist collaboration and making.

Attendees of this presentation will learn basic and necessary understanding of how public/civic art projects are generated and funded. They will get a clear overview of the major processes in public art phases, i.e. design, fabrication and installations. Attendees will also get in-depth knowledge on the history of the glass collection at SEA International Airport, as well as a revealing, first-ever presentation on the port's biggest public art investment to date, highlighting the new installation of Sabine Marcelis on the entry of arrivals drive at the airport.

The successful execution and integration of artwork and design made with glass depends on everything from aesthetics to material choices to proper processing to engineering to installation. Learn how these issues are resolved at Bullseye Studio through a series of case studies of architectural-scale artworks made in kiln-glass.

Omer Arbel will discuss his open ended approach to process, how it unfolds at his studio across scales from objects to buildings.

A paradox of opposites. Objects made through Omer Arbel’s experiments with metal and glass. 93/113 combine glass and molten metals, in cohesion and opposition.