• Gramophone

    Gramophone

    glass (pâte de verre), wood, felt. 55” x 19” x 22”. 2004

  • “A Sense of History”

    “A Sense of History”

    nstallation view showing Gramophone, Paintings, Tastevin, and Objet Touché mixed media room installation. 17’ x 20’. as shown. 2004

  • “L'heure bleue” installation view showing Une petite pipe morte (A Little Pipe Death), Pneu vélo verre (Glass Bicycle Tire), and Air amusé (Amused Air)

    “L'heure bleue” installation view showing Une petite pipe morte (A Little Pipe Death), Pneu vélo verre (Glass Bicycle Tire), and Air amusé (Amused Air)

Michael Crowder

  • The Difference Between You and Me: Union Bridge

    The Difference Between You and Me: Union Bridge

    Layers of hand enameled and etched glass in lightbox, vintage frame. 24” x 28” x 6”/61 x 71.5 x 15. 2014

  • Scene of Death and Doubt

    Scene of Death and Doubt

    29 layers of enamelled glass, assembled in lightbox, collage. 42w x 31h x 29d cm/16.5" x 12" x 11.5". 2010

  • We Were All Wrong (The House on the Hill)

    We Were All Wrong (The House on the Hill)

    Layers of enamelled and etched glass in lightbox, vintage frame. 46.5w x 36.5h x 16d cm/18 x 14 x 6". 2011

Jeff Zimmer

Anna Riley

Anna Riley received her BFA in Glass from the Rhode Island School of Design. Her work, be it conceptual, technical [...]
  • Shifting Countenance

    Shifting Countenance

    2015 matte inkjet print depicting model wearing a flameworked borosilicate glass mask dimensions for mask: 9.5” x 7” x 4.5” dimensions for print: 32 x 24

  • The Most Unkind Morsels of the Self Removed (detail)

    The Most Unkind Morsels of the Self Removed (detail)

    2016 found denim jacket, blown glass shards, gaffer tape, safety pins denim jacket: women’s size medium, installation dimensions variable

  • She Told Me Life Was Infinite II

    She Told Me Life Was Infinite II

    2016 paracord, blown and hot sculpted glass 1 ft x 4 ft x 4 ft

Victoria Ahmadizadeh

  • Dissociation 19

    Dissociation 19

    Acrylic on canvas. 8.75 x 6.5in. 2014

  • Dissociation 15

    Dissociation 15

    Acrylic on canvas. 10.5 x 8.5 x 6in. 2014

  • Dissociation 17

    Dissociation 17

    Acrylic on canvas. 8.5 x 6.5in. 2014

Helena Parriott

  • Call and Response

    Call and Response

    Gaffer Frit 2012 7 ½”x 2 ½x 1 ½” The first in a series based on previous paper-cut work. This piece deals with relationships of symbols and symmetry.

  • Pom-Pom Tower

    Pom-Pom Tower

    Pom-poms, glass 2015 3’x 1’x1’ Part of a collaborative installation with Pam Sabroso at the Pelham Arts Center in New York consisting of several pom-pom covered pedestals, floor lamps, and hanging sculptures.

  • Centerpiece Triptych 2

    Centerpiece Triptych 2

    Mold blown and freehand blown glass 2016 Dimensions vary Another example of a combination created for the Urban Glass Gala.

Alison Siegel

  • “Cities: Departure and Deviation (Atlanta through Los Angeles)”

    “Cities: Departure and Deviation (Atlanta through Los Angeles)”

    Blown glass and vinyl cut drawings, (installation detail). dimensions variable, 2011

  • “Cities: Departure and Deviation (Indianapolis and Los Angeles)”

    “Cities: Departure and Deviation (Indianapolis and Los Angeles)”

    Blown glass and vinyl cut drawings, (installation detail) dimensions variable, 2011

  • “Mining Industries: Boston,”

    “Mining Industries: Boston,”

    Kilncast glass/rapid prototyped pattern and fabricated steel (installation view). dimensions variable, 2015

Norwood Viviano

  • “Like Remembering a Dream the Day After” (Part III)

    “Like Remembering a Dream the Day After” (Part III)

    Glass, neon, lemons and mixed media. Blown, mirrored, gold-leafed and carved glass and “carbonized” lemons. 10’ X 12’ X 6’, 2016.

  • “Like Remembering a Dream the Day After” (Part II)

    “Like Remembering a Dream the Day After” (Part II)

    Eggshells, rubber, glass, neon and mixed media. Blown and found glass with pinned eggshells. 10’ X 12’ X 6’, 2012-2015.

  • Lemon Pile Light

    Lemon Pile Light

Erica Rosenfield

  • “Sólo hay dos flores: la amapola y la rosa”/ Close up

    “Sólo hay dos flores: la amapola y la rosa”/ Close up

  • “The Same Way a Light Sound”

    “The Same Way a Light Sound”

    Titled after the poem “The Same Way a Light Sound” or “Como leve sonido” by Luis Cernuda—exiled and Queer poet from the Generation of ’27: Spain’s Tragic Literary Generation The sculptural body of work presented comprises nine different pieces of annealed float glass. The standing forms are fragmented cylinders that have been severed, beaten or drilled, then glued or sewn back and re-envisioned through the insertion of hair. In exploring iterations of empathy and materiality they speak of new orders and systems. Slumped glass, adhesive, graphite, hair, high-density conglomerate wood Slumping, coldworking, sewing (lacing), glueing, wood carpentry, painting Installation of variable dimensions; platform measures 5 x 8 ft./ Glass forms are 31 in. tall Year 2016

  • “Sólo hay dos flores: la amapola y la rosa”

    “Sólo hay dos flores: la amapola y la rosa”

    Titled after the poem “Flores” from the book Orfebre by Leopoldo María Panero—Spaniard contemporary poet Goat kidskin translucent parchment, silk thread, acrylic glass box Hand wet stitching, box building Dimensions of installation are 15 x 15 x 15 in. Year 2015

Pablo Vindel

  • Works & Days (Installation View)

    Works & Days (Installation View)

    Mixed Media Works & Days was an exhibition that referenced the farmer’s almanac, historically a collection of long range weather forecasts, aphorisms and entertainment, to address issues radiating from climate change and the significance of the naming process in regards to a new epoch. Dimensions Variable 2016

  • Weather Pattern

    Weather Pattern

    Pate de verre This piece was made to replicate a climate map, abstractions of real data made to be easily consumable by an audience. 48” x 32” x ½” 2016

  • Who Owns the Moon? (Detail)

    Who Owns the Moon? (Detail)

    Blown and Mirrored Glass bottle with Ethanol, Blown and Mirrored Glass bottle with Methanol It is said that if you cook moonshine too long, it generates methanol which can make you blind as opposed to drunk. This piece is a reminder that whether claiming land on the earth or land on the moon, they are both versions of colonial projects. 10” x 10” x 4” 2016

Kristen Neville Taylor

  • Albion

    Albion

    Glass, Glassblowing, 43(W) x 16(D) x 14(H). 2009

  • Albion (detail)

    Albion (detail)

    Glass, Glassblowing, 43(W) x 16(D) x 14(H). 2009

  • Lattimo: Composition 4

    Lattimo: Composition 4

    Glass, wood. Glassblowing, 38(W) x 14(H) x 7(D), 2013

Scott Benefield