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1201-316th St NW, Stanwood, WA 98292

CHIHULY: Venice 2026

May 5 - Nov 14, 2026

Dale Chihuly, Gold Tower, 2025, 31 x 10½ x 10½' (953 x 323 x 318 cm) Palazzo Franchetti, Venice, installed 2026 © 2025 Chihuly Studio. All rights reserved. Photograph by Nathaniel Willson.

‍Presented by Pilchuck Glass School and Frederik Meijer Gardens & Sculpture Park

Thirty years after transforming the city and its canals with his groundbreaking Chihuly Over Venice project, world-renowned artist Dale Chihuly returns to the source of his inspiration with CHIHULY: Venice 2026. Presented by Pilchuck Glass School and Frederik Meijer Gardens & Sculpture Park, CHIHULY: Venice 2026 will be anchored by three dramatic new sculptures installed along the Grand Canal, celebrating the artist’s enduring dialogue with the city that fundamentally shaped his career. The installations will be accompanied by an interpretive and archival center curated by Suzanne Geiss, housed at the Istituto Veneto di Scienze, Lettere ed Arti at Palazzo Loredan. The exhibition opens May 5, concurrent with the Venice Biennale and in association with The Venice Glass Week 2026, closing on November 14, 2026.

Learn more

From Venice to Pilchuck: Chihuly's Legacy of Collaboration

Pilchuck Glass School is joining Chihuly Studio in celebrating the opening of CHIHULY: Venice 2026 alongside the exhibition’s other co-presenter, Frederik Meijer Gardens & Sculpture Park. Pilchuck is thrilled to help present this new exhibition in celebration of the thirtieth anniversary of Chihuly Over Venice, the landmark exhibition by Dale Chihuly, world-renowned artist and co-founder of Pilchuck Glass School.

The exhibition consists of three new large-scale sculptures installed along Venice’s stunning Grand Canal, visible from the iconic Accademia Bridge, and an in-depth interpretive and archival exhibit housed in the Istituto Veneto di Scienze, Lettere ed Arti at Palazzo Loredan, curated by Suzanne Geiss. The exhibition will run concurrently with the Venice Biennale from May 5 – November 14, 2026.

Pilchuck is overjoyed to help celebrate this milestone anniversary of Chihuly Over Venice, which was not only foundational to Chihuly’s career but also represents an important chapter in the rich history between Venice and the Pacific Northwest.

Image: Dale Chihuly, Blue and Green Tower, 2025, 26½ x 10 x 10' (810 x 312 x 305 cm) Palazzo Balbi Valier, Venice, installed 2026 © 2025 Chihuly Studio. All rights reserved. Photograph by Nathaniel Willson.

In 1968, Chihuly first traveled to Venice as a Fulbright scholar. There, he worked at the Venini factory on the island of Murano, an ancient hub of glassblowing and innovation. Chihuly’s time at Venini observing the traditions of Italian glassblowing planted the seeds of inspiration that would later lead to a vibrant cultural exchange between the Italian mecca of glass arts and his beloved homeland of the Pacific Northwest.

Upon his return west, Chihuly co-founded Pilchuck Glass School in 1971 with the support of John H. and Anne Gould Hauberg. Fueled by his time abroad, Chihuly’s vision manifested with the steady growth of our campus throughout the ‘70s and ‘80s, cementing Pilchuck as a place of collaboration and experimentation, and as a collision of creativity and artistic traditions.

During his time in Italy, Chihuly forged friendships with many Italian glassblowers, notable among them were maestros Lino Tagliapietra and Pino Signoretto. As Pilchuck grew in the ‘70s and ‘80s, Chihuly invited his Italian friends to campus to teach and share their honed techniques with the glassblowers of the Pacific Northwest. It’s widely acknowledged within the glass art community that this exchange of knowledge was what brought many Italian techniques, such as goblet making and glass cane pattern work, into the evolving Pacific Northwest glass art tradition.

Image: Dale Chihuly (left), Robert Hendrickson (center) and James Carpenter (right) during Pilchuck's first summer workshop in 1971.

As he embarked on the ambitious Chihuly Over Venice project, traveling and working in the US, Finland, Ireland, and Mexico before finishing in Venice, Chihuly carried with him the same spirit of curiosity and learning that lit the spark for Pilchuck years before. In many ways, Chihuly’s work in Venice, including both the 1996 and 2026 projects, bears the same DNA that is at the core of Pilchuck—a fusion of cultures, art, and community.

Image: Lino Tagliapietra, Dale Chihuly and Pino Signoretto (from left to right) at Pilchuck Glass School, 1989, photo by Philip Amdal.

‍

The original Chihuly Over Venice began as a conversation across cultural and physical boundaries, challenging both the known and unknown and engaging glass and glassblowers from around the world. This same sense of cross-pollination, experimentation, collaboration, and creativity is inherent to Pilchuck’s mission. Chihuly’s vision, to create a safe place of expression through glass, grounded in community and collaboration, continues to unfold on our campus each season as we welcome artists from around the globe to share in community and make magic together.

As we look ahead to celebrating CHIHULY: Venice 2026 alongside Chihuly, the Chihuly Studios and Frederik Meijer Gardens & Sculpture Park teams, and the Italian glass community, we remember the longstanding creative collaboration and friendship forged decades ago that continues to reverberate throughout our community. We hope that CHIHULY: Venice 2026, whether you are able to visit in person or not, inspires you as not only a testament to Chihuly’s unparalleled career, but also to the cross-cultural legacy he has built.

Image: Dale Chihuly and Pino Signoretto at Pilchuck Glass School, 1997.

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Pilchuck Glass School.

Pilchuck Glass School is recognized as a 501(c)(3) charitable organization and is an equal opportunity employer.

Pilchuck Glass School is located on the ancestral homelands of the Skagit, Tulalip, and Stillaguamish tribes, who continue to thrive and who are the contemporary custodians of the land where our campus is situated. We honor the ancestors and respect the elders of the past and present of these tribes.

Pilchuck does not discriminate on the basis of gender, sexual orientation, race, religion, nationality or ethnic origin in employment or in artistic or educational programs.

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