Participants may select one workshop per session, during which they will be fully immersed in a vibrant educational environment on the breathtaking Pilchuck campus for the duration of the session. All participants eat, work, and sleep on campus for the entire session. Days include intensive instruction and demos throughout the day and evening, as well as ample opportunities for personal exploration and studio time. Housing is warm and rustic and most accommodations require a brief walk through fields and forest to reach the studios.
Discover your own “toys” in a world of fantasy. Deconstruct traditional vessel forms and reimagine them as playful, sculptural, or functional objects—transforming historical references into contemporary design. Explore Medieval glassmaking and classical techniques: enhanced bit work, garage assembly, and complex decorative elements to develop innovative, one-of-a-kind creations. Through a fast-paced and efficient process, the class will refine their skills in team coordination and time management. Projects will include single-gathered forms such as cups, stemware, and creatures—all made with attention to detail and craftsmanship.
This workshop will see students combine digital tooling with traditional and experimental kiln-glass processes. Utilizing CAD software and 3D printing, students will discover how to design and make intricate, multipart refractory molds, which will be used for kiln-forming methods such as foaming glass and Pâte de verre. In addition to designing and realising individual works, emphasis will be placed on collaborative methodologies, with students contributing to group projects. This workshop provides a focused exploration of contemporary glass practices, aimed at enhancing technical skills, challenging material understanding, and fostering innovation.
This sculptural flameworking class invites participants to delve into themes of fragility and transformation through glass and mixed media. Drawing inspiration from personal objects, natural remnants, and forgotten fragments, we’ll reimagine ideas of absence and memory as luminous forms. Using core flameworking techniques, students will respond to the Pilchuck campus environment, creating sculptural and installation-based works that merge organic and manmade elements. Through process and reflection, participants will consider the tension between what is lost and what endures. Prior experience with borosilicate flameworking is helpful. Curiosity and a willingness to experiment are essential in uncovering beauty within what remains.
In this course, students will learn to combine glass and stone using multiple techniques, including kiln casting, cold working, and lamination. Experimentation with other materials (think found objects, sticks, metal, etc.) is encouraged—both to develop fresh narratives and test material synthesis. We’ll push to failure and then dial it back to success.
This course will explore the exceptional technique of hot mold blowing, from model making to the creation of finalized glass objects. In this multi-staged process, we will examine the aspects of plaster-silica mold-making and acknowledge the unique potential of hot mold blowing to create sculptural glass artworks. Blowing glass into heated molds challenges its surface tension, allowing the glass to capture fine details from the mold, resulting in intricate volumes and textures. We will design models that employ diverse fabrication methods, from handwork to 3D printing, and transform them into glass while discussing the connections between concepts, traditions, and techniques.
Emii Alrai (b.1993) is a British-Iraqi artist whose work delves into themes of heritage,nostalgia, and the colonial legacy of looted artefacts. Through large-scale sculpturalinstallations that mimic archaeological ruins and ancient monuments, she reimaginesmuseum objects using plaster, clay and metal. These artefacts are often presented asdecaying and deteriorating through her material explorations of forgery. Alrai uses theseinstallations to critically examine museum curation and the romanticised ways histories aretold and displayed.
Chiffon Thomas (b. 1991, Chicago, IL) is a multidisciplinary artist whose practice spans sculpture, drawing, performance, and installation. His work investigates how institutional and improvised structures can simultaneously protect and oppress, with a focus on the experiences of marginalized communities. Thomas frequently incorporates materials such as steel, stained glass, fiber, mold-making, casting, and architectural salvage to create figurative assemblages. These works explore the complexities of identity formation and the negotiation of space within imposed environments.
Minhi England is an independent glass artist and educator. After earning her BFA from Alfred University in glassblowing and metal casting, she established The Compound in Seattle, a cooperative for emerging artists. MiNHi's art explores transformative life experiences. She often uses silver mirrored glass, employing pattern and repetition, to show how self-understanding can be skewed by life's existential questions. Hot glass serves as a cathartic medium for delving into identity, purpose, and individual truths.
Tanner Weiss was born and raised along the coast of Hermosa Beach, California. Weiss grew up in a household full of art. His Columbian mother instilled a love of art and helped foster his love of glass by sending him to a high school that taught glassblowing. It was here that Weiss found his true love of art making. Weiss’s work continued to develop at Pilchuck Glass School during the summer workshops as a student, teaching assistant and coldshop coordinator. In 2017, Weiss made Seattle his home and has continued working as a freelance glass artist. Weiss has worked with artists such as Nancy Callan, Janusz Pozniak, Preston Singletary, Martin Blank, and more. In the fall of 2021 Weiss worked as an assistant to Jen Elek and Jeremy Bert during their neon and glassblowing concentration at Penland School of Crafts. As an artist pursuing his own work, Weiss has developed his love of glass through aquatic and environmental inspirations found in California and the Pacific Northwest.
Every summer since 1971 the glass world has come together for innovative and rigorous workshops with an international cohort of instructors and artists. In 2025 we will host seven sessions.
The summer is filled with an all-star roster including Jen Elek, Annette Blair, Ben Edols, Jessica Loughlin, Sibelly, Danny Coyle, Dante Marioni and more. An advanced topics Spring Session will include an opportunity to be a part of Pilchuck history by rebuilding one of the program furnaces with Fred Metz. Session 3 will see the return of lampworking maestro Lucio Bubacco for a 30-year reunion of his Flame to Furnace collaboration with Brian Kerkvliet and Ed Schmid. Preston Singletary and Martin Janecký will bring their combined approach to Session 4. Silvia Levenson returns during Session 5, Pilchuck’s first bi-lingual (Spanish/English) session.
Join us for another transformative year on the hill.