When it comes to art glass I have one friend that I always enjoy talking to, artist Jeanne Ferraro. I asked Jeanne to accompany me to the William Morris show that is currently up at Abmeyer + Wood Fine Art to talk about glass art, Morris’ role in shaping contemporary art glass, and to get the low down on how some of these marvels in glass were created.
Jeanne admiring ‘Animal Pin (2003)’, a work that is small but full of movement and technical skill.
Seattle is a town at the epicenter of art glass, and in today’s world of glass it is second to none, right up there with the master craftsman in Murano Italy. This is due to our rich history woven around the Pilchuck Glass School and the many artists that have met there and forged ahead in the field of glass art through innovation, vision, and a willingness to experiment. Seattle is filled with fantastic collections of art by renown glass blowers displayed throughout downtown in skyscraper lobbies and in our museums. Just a short drive South one can spend an entire day in Tacoma seeing how glass is made at the Museum of Glass, and the extremes it can be taken to. Steps away at the Tacoma Art Museum there is even more art glass. It is easy to get overwhelmed, or more likely, to become enchanted.
In the rich history of art glass artist William Morris is revered for his sincere passion and innovation. Morris’ tale is one for the storybooks, and includes a stint as gaffer for Chihuly. Morris had a career filled with innovation and inspiration from travels and adventures. His work reflects ancient civilizations while employing techniques that were new to the art of glass blowing. And his sculptures will forever change the way you think of glass art, as few of them look anything like the material of glass that we know. Morris has moved on from glass blowing and officially retired in 2007 to spend more time on adventures, his creative output is spread around the world in private collections and in museums, and until recently just a few pieces were available for purchase. That was until his studio released a large collection of archived works to be shown at Seattle’s Abmeyer + Wood Fine Art, a show of works ranging from 1984 to 2007 spanning nearly the full length of the prolific artist’s career.
Jeanne took me through the show, pointing out the precision that was involved as pieces were blown, I guessed how pieces were made and Jeanne revealed where pipes and punti would have been attached throughout the blowing process. Many of the works involved multiple points of attachment throughout their creation as the work was shaped and changed, additions and textures layered on until a piece looked to be carved from stone and mystically lit from within.
‘ANIMAL URN: IMPERIAL ZEBRA HEAD’ (2000) This piece is a striking example of the multiple layers of texture that go into many of Morris’ pieces, as well as the final look that is unlike any glass I had previously seen.
One thing that sets Morris’ sculptures at the highest level of their craft is their ability to be viewed from absolutely every angle. We marveled at how an object had a balance visually, and a compelling tension throughout. Even the stands were cleverly integrated into the final display, adding just enough support and enhancing the overall appearance, but never detracting from the work.
Morris’ pieces recall ancient civilizations without being appropriations of past cultures. His art comes from a genuine interest in the spiritual and the sacred. There is a clear connection between the dozens of sculptures in the gallery, but that connection isn’t easy to sum up, it isn’t a technique or look, just a deeply engrained energy that is imparted from the work.
‘Cazo (2004)’ One of many pieces with a corn motif. There are so many different ways to create a corn motif found throughout Morris’ work.
Jeanne mentioned on numerous occasions that Morris was a glass blower that everyone enjoyed working with, he shared in his triumphs and gladly accepted any ideas from his team when working on a new project. One can see the efforts of not just one artist in his work, but a community of talented artists. His works tell the tale of the great civilization of glass blowers that still flourish to this day in and around Seattle.
William Morris Archieved Works will be on view at Abmeyer + Wood through July 2013, and for anybody unfamiliar with art glass, this is the pinnacle of art glass shows. For those well acquainted, this is a show not to be missed. Thank you to Jeanne Ferraro for spending an afternoon with me and the work, and to Jon Wood, gallerist at Abmeyer + Wood for curating a marvelous show full of wonder and spectacle. Images courtesy of Abmeyer + Wood.
‘Drum (2007)’ One of our favorite pieces for its balanced composition and ability to look incredible from every angle.
To find out more about this show, please visit the gallery’s website listed below.