Making art has always been a journey for me. Although sketches are made, plans scribbled on paper and maps drawn up with inklings of the destination, it is the problem solving and decisions taken on the way that give meaning to my endeavor.

Then the destination is reached…
This is the moment where the sculpture starts to converse on its own, the birth of an idea in a universal language.

Current sculptures and series’ such as Rock View, Silverstone, Grids, Guardians, etc. are all attempts at understanding and exploring the idea of “being human”.

I love imagination and finding the familiar in odd places. As a youngster I used to look up at the clouds and see all kinds of different things in them. What really amazed me was when your gaze left the clouds and returned a few seconds later how much of the previous illusion has changed, that the old man’s face now resembles a grinning crocodile…

Taking stock on my current trajectory I’m noticing myself still exploring these imaginative avenues. Is this not a truly human trait? The pure arrogance! To identify yourself in the detritus of the universe? Even on Mars we have found faces resembling our human identity and given nebulas names such as “Crab” and “Horse Head”. Are these not the places where we identify our gods, within the planets, the sun and the moon?

This must be a sign that we are conscious beings, that we have an imagination and are different to the “other animals” on this pale blue dot. Is this not the fertile ground which birthed our spiritual sensibilities?

Could this trait also be responsible for the basic narrative we call art? Seeing a likeliness of ourselves in a large rock or a tree must have given rise to spirituality, to religion. We are not separate but part of the larger picture. We are part of the universe!

Perception! The pinprick hole of our pupil sucks up all this electromagnetic radiation of the “visible” spectrum. These illusive particles and waves radiate from everything around us. How can this tiny hole in our eye reveal so much if only a tiny fragment of this radiated energy stimulates our perceptive nerves?

There is so much visual information and each individual has their own perspective. My sculptures are an attempt to discern this diversity of views. I am searching for a way to articulate through experience and immediacy that moment which gave rise to the origins of the inquisitive and conscious woman, child and man.

The lens metaphor has and still is the main prerogative to explore this notion of immediacy and individual perspectives of whom we are and our affinity to the world around us.

My sculptural exploits are reaching back to the dawn of man and how this narrative still affects us today, our human nature… with a glassy twist. 

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“It seems obvious that something connects between the eyes and the thing being viewed. That something must be light. But does the light come from the eyes, or from the object under scrutiny, or from someplace else?”
The Story of Light, Ben Bova, 2001 – Light and Vision, p.125

Bending Light
an Exhibition Exploring Photons with Kleonicki Vanos and Lothar Böttcher

NWU Art Gallery, Botanical Gardens
01 -22 September 2016

Consciousness is not sharply defined, but fades into sub-consciousness . We are not uniformly sensitive to the illusions of light yet context matters and our perception of it affects our mind, body, and soul. We process life as we perceive it and our perceptions can change, which is reason enough to celebrate who we are.

By Bending Light, both artists invite the viewer to explore variations on perception, invoking a moment of immediacy.

Kleonicki uses light as a metaphorical brush, literally painting with light in her photographic images.

Lothar sculpturally transforms glass into objects and portals, enticing the spectator to come closer and “observe” the world through his sculptures.

Mutually collaborating on the subject of transforming the familiar arrangement of photons into new narratives these vibrant artists intend to illuminate our view of the world and our place in it.

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Look around you. Grids are everywhere. Even in nature grids appear. The structural lines of the veins on your hand, the folds and lines on your palm, they are everywhere like intersecting pathways.

A grid gives structure to space. Consisting of lines it separates planes into blocks. Lines are fundamental to the existence of a grid, but they must cross another. Some lines are longer others broader but it is this crossing of the lines that constitutes a grid.

Some grids are structured, mathematically and perpendicular. Take a map of the city or place you live in, look at these forever connecting lines which make up the roads, streets and borders of your environment.

Others seem random and organic such as the neurones and synapses in our brains or the ebb and flow in a mangrove swamp.

Ultimately these lines, wherever they find themselves, are connected.

An ongoing theme in my work has been the large optical crystal Grid Sculptures. A grid pattern is cut into the base of these large and heavy blocks, adding a rigid, formal, almost quantifiable structure into the narrative. 
Thereafter the flat sided cube is carved up, often with impulsively determined facets or, quite recently, with an underlying geometric structure. I allow these variants to manifest themselves.

The grid already determines rigidity and mathematical quantifiable value. These straight lines conform to an imposed intervention, something that is not quite from nature.

Then the carving starts. First with lines drawn onto the cube then with a saw to remove larger chunks. A rough diamond cup-disk is used thereafter to shape and hew the sculpture into desired curves and facets. It is with my hands, eyes and tools that the sculpture takes shape.

During the process which takes several days of meticulous and repetitive labour, scouring the surface with ever finer gritts, the interior emerges.

It is this magic of the hard transparent material I am after. The initial matt and rough cuts don’t tell me much of what light will do but it is towards the end of the process when, after an almost meditative sojourn the spirit of my endeavour emerges.

I am attempting to impose an organic distortion on the rigid structural set of rules, this predetermined grid we deal and often conform with. I am trying to find another way of seeing things.

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Education, Seminars & Workshops

2017 – Ngwenya Glass Design Workshop, Ngwenya Glass, Swaziland. Directed by Peter Bremers (Netherlands), with Davide Salvatore (Murano), Tim Shaw (Australia), Richard Price (Netherlands), Marco Lopulalan (Netherlands), James Devereux (UK)
2016 – Glass Art Society Conference, Corning NY, USA
2015 – Rodger Ballen Photography Workshop, 1 Fox Street, Johannesburg
2003 – Pilchuck Glass School, Stanwood, WA, USA – Glass Engraving and Printing Techniques under Jiří Harcuba (1928 – 2013)
2000 – Staatliche Glasfachschule Hadamar, Germany – Qualified as Glass Cutter Journeyman (Glasveredler, Fachrichtung Schliff), top of class.
1997 – Tshwane University of Technology, Hillview Arts Campus (previously known as Technikon Pretoria)
Courses: Sculpture, Glass, General & Figure Drawing, Printmaking, Photography


South Africa
– Pretoria Art Museum (New Acquisitions for Permanent Collection, 2016)
Ellerman House, Bantry Bay, Cape Town
– ABSA Gallery
Glasmuseum Hadamar

Awards, Acknowledgements & Publications

New Glass Review 38, Annual Juried publication of International Glass Art, Corning Museum of Glass, USA
– Elected Committee Member of the Association of Arts, Pretoria 2017-2018

Glass Art112 Contemporary International Artists by Barbara Purchia and E. Ashley Rooney, published by Schiffer Books
– Represented in the Pretoria Art Museum’s new acquisitions and permanent collection with There’s an Animal in here…
– Printed Portfolio –Lothar Böttcher, Artist: Selected Work 2016 in the collection of the Rakow Research Library, Corning Museum of Glass, Corning, USA
– Donation of Prismatic Gadget to the Glass Art Society’s Auction at the GAS Conference, Corning, USA

– Represented in the Glasmuseum Hadamar, Germany with Glass Vuvuzela and beaded carry case.

New Glass Review 32, Annual Juried publication of International Glass Art, Corning Museum of Glass, USA

– Publication of work in Best of Worldwide Glass Artists book.

– ABSA L’Atelier Competition 2007, Top 10 Finalist

– FNB Vita Craft Now, Bus Factory, Newtown, Jhb. – Bronze award

– Internationaler Glaskunstpreis 2002, Rheinbach, Germany, 3rd Place Award
– Publication of work in Neues Glas/New Glass Magazine

Solo Exhibitions & Projects

– “Future Origin” – Longstreet Art Lovers 1932, Pretoria

– “Air” – Longstreet Art Lovers 1932, Pretoria
– “Aether & Substance” – View Gallery, The Factory on Grant, Johannesburg
– “Rise of the Rock” – Forum Homini, Krugersdorp

– “Cosmic Ignition” – The Mother Flame Collective, Afrika Burn, Tankwa, Karoo, South Africa (Samuel Weisenborn, Billy Marschall, Thomas König, Inglin Böttcher, Lothar Böttcher)
A participatory artwork where volunteers reflect sunlight using 300 mirrors on a target to ignite the “Mother Flame”, bringing fire from the sky through collective participation.

– “ANOMALY” – Parts & Labour, Maboneng Precinct, Arts on Main, 264 Fox St., Johannesburg. Opened by Dr. Gerry King.

– Particles & Waves, 195 Mackenzie St., Brooklyn, Pretoria

Group Exhibitions

– Contemporary Abstract, Gallery on the Square, Jan Smuts Ave, Parkwood, Johannesburg. Curated by Derek Zietsman
– Annual Members Exhibition, Association of Arts, Pretoria

– Stable 2017, The Melrose Gallery, Jahannesburg
– Material +Form, Keramikmuseum Westerwald, Höhr-Grenzhausen, Germany
– The George Bizos 90th Birthday Celebration & SAHETI Scholarship Fund Artists Draw Fundraiser, Sponsored two works for fundraiser exhibition.
– 1200 Degrees Celcius, Anecdotes Gallery & Project Space, 1 Eloff St., Joziburg Lane, Johannesburg
– Lothar Böttcher & Sotiris Moldovanos, Dawid Ras Gallery, Sandhurst, Johannesburg
– Snake Eyes 2.0, Aardklop National Arts Festival, Potchefstroom. Curated by Found Collective and collaborated with Christo Niemandt.
– SculptX, The Melrose Gallery, Johannesburg
Art@ The Clocktower, V&A Waterfront, Cape Town
Turbine Art Fair, Johannesburg. Represented by Millennium Gallery.
– See Art, Association of Arts, Pretoria, curated by Derek Zietsman.
– Glass Sculpture – Now For Something Completely Different, with Lothar Böttcher and Maxi Pretorius, Julie Miller Investment Art Institute, Mall of Africa, Midrand.
– Vernissage – Group Exhibition, Moor Gallery, Franschhoek.
– Mute Wisdom, Almenkerk Wine Estate, Elgin, Western Cape. Curated by Gordon Froud

Vernissage – Group Exhibition, Moor Gallery, Franschhoek.
Prime Meridian, Trent Gallery, Pretoria, curated by Anna Liebenberg.
– Emil Kováč in Action, Glass workshop and exhibition by Smelt Glass Studio and View Gallery, Norwood, Johannesburg
Non-PlaceMoór Gallery, Franschhoek. Curated by Elfriede Dreyer
Blow Your Sculpture, Pretoria Art Museum (Cool Capital 2016)
Blow Your Sculpture, Pretoria Botanical Gardens (Cool Capital 2016)
Out of the Fire, Into the Light – Contemporary South African Glass Art, Association of Arts, Pretoria. Curated by Dr. Ingram Anderson & Lothar Böttcher
Saadjies – Cool Capital 2016 group show, Anton van Wouw Museum & Aardklop, Potchefstroom
Bending Light – With Lothar Böttcher & Kleoniki Vanos, North West University Gallery, Botanical Gardens & Aardklop National Arts Festival, Potchefstroom
Beyond the Limit – Sculptural Glass, St. Lorient Fashion & Art Gallery, Brooklyn, Pretoria
Glass Art Society Conference, Corning, NY, USA – Donated work for Silent Auction
1st Jozi Inner City Courtyard Sculpture Exhibition, curated by Gordon Froud, No.1 Eloff St., Johannesburg
Liquid, group show by Smelt Glass Studio and Friends, at View Gallery, Norwood, Johannesburg
it’s an artist’s prerogative!, group exhibition, Art It Is, Johannesburg
Thresholds (in)between Glasses, group show curated by Thabang Monoa for his masters degree at Art It Is, Johannesburg
Ad Hoc, pop-up group show at the Mince Festival, Cullinan

– FNB Collectors Lounge, Johannesburg Art Fair, curated by Dewald Prinsloo, Ebony Franschoek
– “The Games People Play”, group show curated by Gordon Froud and Yannis John Generalis, Aardklop National Art Festival, Potchefstroom.
– “Betwixt and Between”, South African Glass Artists, curated by Thabang Monoa for Aardklop National Art Festival, Potchefstroom.
– Dawid Ras, Collections an group show, Sandton, Johannesburg.
– Eclectic Group show, Halifax Art, Parkhurst, Johannesburg
– Jozi(Pty)Ltd., group show at Art It Is, Johannesburg
– Upcycle Chic, group show at Art It Is, Johannesburg
– Jozi Land Art, Autumn show by Site Specific Land Art, Emmarentia Botanical Gardens, Johannesburg
– “Reflections”, group show curated by the Stellenbosch Outdoor Sculpture Trust, Stellenbosch.

– “Pulling Roots” – curated by Gordon Froud and Vivian Tillet, Muldersdrift
– Jozi Land Art, Spring Show – Nominated as the Event Artist – A group show directed by Chris Reinders and Site Specific Land Art, Emmarentia Botanical Gardens, Johannesburg.
– “Blow Your Sculpture”, a Cool Capital 2014 project introducing the possibilities of glass to various artists working on other mediums, MAP South Africa, Harrie’s Pancakes, Eastwood, Pretoria
– “Play” – A curated sculptural group show at Nirox Sculpture Park, Krugers Dorp, South Africa. Curated by Beathur Mgoza Baker, Maaike Bakker, Jayne Crawshay-Hall & Isabel Mertz
– “The City, a Form of Life”, a Cool Capital 2014 exhibition by leading sculptors from Pretoria, Open Window Campus, Pretoria.
– Hsinchu International Glass Art Festival, Hsinchu City, Taiwan
– Rooftop VI – Contemporary Totem Poles, St. Lorient Art & Fashion Gallery, Brooklyn, Pretoria
– “Cathedra” – a Group show of chairs and seats, curated by Gordon Froud, North-West University Gallery; Bayliss Gallery, Norwood, Johannesburg.
– “Revealing Light – Light Revealed”, group exhibition, Tina Skukan Gallery, Pretoria
– “MorfforM”, a Tera Collective group show, Fried Contemporary Art Gallery, Pretoria
– “kárrictər”, collaborative exhibition with Stefan Hofmeyr, Art Space Durban, Durban
– “Showcase 1”, Bayliss Gallery, Norwood, Johannesburg
– “Shards”, group exhibition at Tina Skukan Gallery, Pretoria

– “Diane Victor Benefit Auction, FADA Gallery, University of Johannesburg
– “Conversations with King” – Contemporary Glass in South Africa, Tshwane University of Technology, Faculty of Arts Gallery, Pretoria
– Tom Waits for No Man”, travelling national group show, curated by Gordon Froud, Johannesburg, Bloemfontein, Cape Town
– “Art Sunday One”, Dawid’s Choice Gallery, 18 Silvela Road, Sandown Estate, Johannesburg (M. Dawid Ras)
– “Reveal” – Contemporary South African Glass Art, ArtEC Gallery, 36 Bird St., Port Elizabeth
– ABSA Art Gallery, “Re-sampled” invited group exhibition, Bloemfontein.
– “168 Hours”, Aardklop National Arts Festival, Snow Flake building, Potchefstroom, South Africa
– “Alice in Wonderland” Group Exhibition, curated by Gordon Froud, Longstreet Art Lovers 1932, Waterkloof, Pretoria
– “Interrupted” – Greek Cultural Week Group Exhibition, University of Johannesburg Art Gallery, Johannesburg.
– “INTERRUPTED” Art Exhibition at SAHETI School, Bedfordview, George Bizos SAHETI Scholarship and Bursary Fund
– “Objets d’Art” Glass & Jewellery Exhibition, St. Lorient Art & Fashion Gallery, Brooklyn, Pretoria

– ABSA Art Gallery, “Re-sampled” invited group exhibition, Johannesburg
– SASOL New Signatures 2012, Pretoria Art Museum, Finalist
– Pop Art Exhibition, The White House Gallery, Illovo, Johannesburg
– TUT Alumnae Exhibition, Tshwane University of Technology
– Kaleidoscope – Energy of Colour, St. Lorient, Pretoria
– Translucent, Chapman’s Art Emporium, Pretoria

– SASOL New Signatures 2011, Pretoria Art Museum, Finalist
– Werkstatt Schau, Samuel Weisenborn Studio, Schiessheim, Germany

– South African and Modern African Art, 26 Oct 2010, Bonhams Knightsbridge, London, UK
– “L’Origine du monde- this is not a porn song”, group exhibition in the Snow Flake building for the Aardklop National Arts Festival, Potchefstroom, South Africa
– Rooftop II Contemporary Sculpture Exhibition, University of Johannesburg Art Gallery, Johannesburg, South Africa
– Rooftop II Contemporary Sculpture Exhibition, , St. Lorient Fashion & Art Gallery, Brooklyn, Pretoria, South Africa
– Vloei – Group Exhibition of Contemporary Glass Artists, St. Lorient Fashion & Art Gallery, Brooklyn, Pretoria, South Africa
– African Light – Group Exhibition of Local and International Glass Artists, The Edge Glass Gallery, Cape Town, South Africa
– The Art of Soccer, UNISA Art Gallery, Pretoria, South Africa

– Hartwarm, Platform on 18th, Pretoria, South Africa
– Standard Bank Achiever, Standard Bank Gallery, Johannesburg, South Africa
– If I were a Woman… , Magpie Gallery, Centurion, South Africa
– Urban Visionaries, Chapman’s Art Emporium, Pretoria, South Africa

– Rendezvous, Focus Sculpture, Jhb & University of the North West Art Gallery
– Commit, Group exhibition at Platform on 18th Gallery, Pretoria.
– Reflect Refuel, Contemporary Art Exhibition, Art Association Pretoria, Pretoria.

– ABSA L’Atelier Competition 2007, Top 10 Finalist
– Boat and boat shapes, The Edge Glass Gallery, Cape Town
– Tajan Auction House, Paris. An African Painters Exhibition.

– The Lighter Side, a collaborative exhibition with Ignus Gerber (photography), Justice Mokoena (sound), The Rainforest, Gordart Gallery, Johannesburg
– FNB Craft Now, KZNSA Gallery, Durban – Finalist
– Beeldspraak, works by 52 established South African artists, University of Johannesburg Art Center

– Christmas Show, Gordart Gallery, Melville, Jhb.
– The South African Glass Art Society’s Glass Festival 2005
– The Edge Glass Gallery, Cape Town.
– Jean Welz Gallery, Worcester
– Dorp Street Gallery, Stellenbosch
– Irma Stern Gallery, Cape Town
– Leading Trends in Studio Glass, curated by Retief van Wyk, Pretoria Art Museum, Pretoria.
– ABSA L’Atelier Competition, Finalist
– Funktional, Gordart Gallery, Melville, Jhb.

– 10 x 10 x 10 Exhibition, Gordart Gallery, Melville, Jhb.
– FNB Vita Craft Now, Bus Factory, Newtown, Jhb. – Bronze award
– SAGAS Glass Festival:
– Gordart @ Thompson Gallery, Melville, Jhb.
– The Chris Tugwell Gallery, Brooklyn Mall, Pta.
– Ekurhuleni Fine Art Awards, Finalist

– Ekurhuleni Fine Art Awards, Finalist

– Internationaler Glaskunstpreis 2002, Rheinbach, Germany, 3rd Place Award
– FNB Vita Craft Now Exhibition 2002, Merit Award

– Contemporary Glass Art in Germany, Glasmuseum Immenhausen, Germany.
– Ekurhuleni Fine Art Awards


Appointments & Experience

– Attendee at the Glass Art Society conference, Corning, NY
– Coordinator, Curator, Instigator for Blow Your Sculpture 2016, a Cool Capital 2016 event.
– Coordinator and curator with Dr. Ingram Anderson for the national glass art exhibition: “Out of the Fire, into the Light” hosted by the Pretoria Art Association for the Cool Capital biennial, 2016

– Coordinator and curator with Dr. Ingram Anderson for the national glass art exhibition: “Out of the Fire, into the Light” hosted by the Pretoria Art Association for the Cool Capital biennial, 2016

– Instigator, coordinator and curator for “Blow Your Sculpture” a Sculptors and Glass Project – Building a Bridge between Mediums, Cool Capital 2014 Event, Pretoria – Group exhibition.
– “Cosmic Ignition” – a Mother Flame Event, Afrika Burn, Tankwa, Karoo, South Africa
A participatory artwork where volunteers reflect sunlight with 300 mirrors on a target to ignite the “Mother Flame”, bringing fire from the sky through collective participation.
– Founding Member of Tera Collective, a creative group of artists with Rina Stutzer, Izanne Wiid, Grietjie Lee, Sybrand Wiechers, Sarel Petrus, Lothar Böttcher.
Part Time Lecturer, Tshwane University of Technology Glass Department, Cold working and design, 2nd & 3rd Year Students
Ward Committee Member, Ward 87, Region 5, City of Tshwane Metropolitan Municipality – Disaster Management

– Brandy Wall Sculpture, Ellerman House, Bantry Bay, Wine Gallery, Villa 2. Under direction of Angus Taylor.
Ward Committee Member, Ward 87, Region 5, City of Tshwane Metropolitan Municipality – Disaster Management
Part Time Lecturer, Tshwane University of Technology Glass Department, Cold working and design, 2nd & 3rd Year Students

Elected Ward Committee Member, Ward 87, Region 5, City of Tshwane Metropolitan Municipality – Disaster Management
Part Time Lecturer, Tshwane University of Technology Glass Department, Cold working and design, 2nd & 3rd Year Students

– The Glass Association (UK) tour of Coburg and surrounds, Germany.
Part Time Lecturer, Tshwane University of Technology Glass Department, Cold working and design, 2nd & 3rd Year Students

– Part Time Lecturer, Tshwane University of Technology Glass Department, Cold working and design, 2nd & 3rd Year Students
– Judge for Cool Inc. Tattoo Convention, Johannesburg 2010

– Design and manufacture of the Aardvark Award for Aardklop National Art Festival 2009, commissioned by the Beeld Newspaper, Potchefstroom, South Africa
– Assisting David Reade in Worcester, Western Cape, with the installation of cold working equipment and training of assistant
– Ngwenya Glass Design Workshop 2009 with Peter Bremers, Ngwenya Glass, Swaziland.
Part Time Lecturer, Tshwane University of Technology Glass Department, Cold working and design.

– External Examiner/Assessor for Third-Year Glass Design Student’s Evaluation, Tshwane University of Technology.
– Attendee at the Design Indaba, Cape Town.
– Design & Construction of new studio space for Obsidian Glass, Plot 176, Spioenkop Rd., Kameeldrift East, Pta. (2007 – 2008)

– External Examiner/Assessor for Third-Year Glass Design Student’s Evaluation, Tshwane University of Technology.
– Ngwenya Glass Design Workshop with Peter Bremers, Ngwenya Glass, Swaziland. – – – Part Time Lecturer, Tshwane University of Technology Glass Department, Cold working and design
– Attendee at the Design Indaba, Cape Town

– External Examiner/Assessor for Third-Year Glass Design Student’s Evaluation, Tshwane University of Technology.
– Construction and installation of glass display cases for the Picasso and Africa Exhibition, Standard Bank Gallery, Johannesburg.
– Attendee at the Design Indaba, Cape Town.

– External Examiner/Assessor for Third-Year Glass Design Student’s Evaluation, Tshwane University of Technology.
– Coordinator and Committee Member of the S.A. Glass Art Society.
– Guest lecturer at the Tshwane University of Technology – UV-bonding demonstration

– Coordinator and Founding Member of the S.A. Glass Art Society.
– Guest lecturer at the Tshwane University of Technology – UV-bonding demonstration.

– Attendee at the Glass Art Society Conference, Seattle, USA.
Pilchuck Glass School, Stanwood, WA, USA
– Assistant to Michael Bokrosh, Bokrosh Studio, Seattle, USA.
– Site Manager for the erection of the Tshwane Glass Recycling Facility in Rosslyn, Pretoria.

– Design and manufacture of display stands for the Gold of Africa Museum, Cape Town under the direction of Christopher Till.

– Assistant and apprentice to Michael Bokrosh, Bokrosh Studio, Seattle, Washington, USA

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The Glass Art Society conference took place in Corning this year. I was fortunate to attend, met many old friends and made many new ones. From the moment I arrived there was an invisible energy permeating through the air. Everywhere one found yourself there was bound to be somebody connected to creative glass ready to share some friendly words on where you’re from, what you do and more.

Day one started as a pre-conference event, a round table discussion on education and the roll history of glass plays in current curricula. Former board members, critics, historians, curators, department heads, educators, professors, artists, schools, students, experts and even collectors joined in the discussion. Afterwards we got a behind the scenes tour of the Rakow Research Library. I would wager that most answers to glass related questions can be found here!

I forgot to mention, earlier on day one Lino Tagliapietra was making glass at the Museum hot shop amphitheatre. The Maestro was hands-on throughout, constantly keeping his glass under control, from choosing the canes laid out to pulling and twisting of the dinosaur’s neck. Amazing!

As the round table discussion was a pre-conference event, day two was actually the first day of the conference. The welcoming reception took place at The Rockwell Museum with a beautiful setting overlooking the town of Corning from the top floor balcony. The conference started with a bang!

The days were filled to the brim fromThursday till Saturday. There were talks and demos, in the hot shops, cold shops, lamp working studios, and even lec-mos (hybrid for lecture-demos) in the town’s movie theatres. Panel discussions at Corning Headquarters and the Corning High School auditorium. Evening events in town with the Crystal City Stroll where public light sculptures were exhibited all around town and galleries showed cutting edge contemporary art. Silent and live auctions with works donated by artists help fund GAS.

On Saturday the closing party highlight event, the Glass Fashion Show curated by Lorna Doneffer got everybody fired up and shaking bootie on the dance floor. It was almost sad to say goodbye that night.

Sunday was my first opportunity to walk through the museum, slowly. I spent two days traversing the expansive display of where glass came from, how it got here and where it might take us next.

Monday evening was laundry night and Tuesday morning it was off to New York City…

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Its Saturday evening in New York, Meatpackers district to be more precise. My journey started at the beginning of this month, first stopping in Germany, where I visited Samuel and Ilona in Schiesheim.
This was the first leg of my epic glass tour across two continents. Whilst in D-land Sam was so kind to take me to Hadamar, to visit our School where we did our apprenticeship. By the sounds of it the Schleifferei has no current students. This is rather worrying and indicates a stagnant growth of qualified cold workers coming through this particular avenue.
When I was last in Europe, during 2011, there were already hints towards this trend. And not only in Hadamar but also in the Czech Republic. It looks like this might be due to various aspects. Economics possibly being the highest ranking factor, as most students and parents can’t see how you’ll pay the bills after three years of study / apprenticeship.
These are personal opinions but the fact is that the fires of my trade are waning. The masters are passing and us few, Samuel included, are the current torchbearers. I want to see more flames emerge behind me though.
That is also one of the reasons I planned this trip, this epic glass journey across the world. I want to see what the international state in glass, in creative and artistic glass currently is.
It is not all gloom though. Hadamar has opened it Glasmuseum to the public after several years of uncertainty. I was very fortunate to have a private tour through the rooms with Wolfgang Hofmann and Willi Pistor, who both took time off to share personal interpretations and anecdotes on the displayed works and artists.
The rooms of the museum are in a wing of the Hadamar renaissance palace with original renovated ceiling paintings and friezes. The most impressive though are the detailed inlaid wooden floors. One has to wear puffy felt overshoes when entering the space to avoid damage to the floors.
In contrast to the classical interior, modern, well lit rectangular monoliths of plate glass, metal and wood house the museum’s historic and contemporary collection. These displays, although angular and almost alien to the rest of the classic opulence in the rooms, seemed subdued and welcoming, inviting visitors to view their contents.
And what a selection there is! With examples of ancient roman glass to works from past masters who taught at the Erwin-Stein-Schule. Each cabinet dedicated to a person or theme. I am proud to say that some of the masters in the permanent collection such as Josef Welzel and Willi Pistor were my mentors.
The museum also has rotating exhibits which include retrospects as well as contemporary shows throughout the year.


Then there was Schiesheim…

Samuel Weisenborn probably has one of the most comprehensive private cold working studios in Europe. His selection of wheels and disks is close to endless and with several machines all running smoothly this studio can tackle large and small scale projects over and above the knowledge and skills Samuel has to offer.
I couldn’t just idly sit around and had to “test drive” his space. In the store I found an obsolete project which Samuel was kind enough to pass on to me to scratch my creative itch. It was such a pleasure spending a whole day in the studio and “shooting from the hip”, making a little Schiesheim Session Sculpture.

Thank you to everybody who made the few days in Germany special, especially Sam and Ilona!

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The Silverstone Caricatures are new sculptures currently on show in my solo exhibition, “Air” at Art Lovers 1932.

I have been combining rocks, steel and glass for some time now, consciously giving each element a roll in the theatre of sculptural narrative.
The rock is solid, strong and ancient. It is a part of this silica crust we dwell on with a history exceeding even life, as we know it, by far. In this sense it is telling a story, informing the spectator of the randomness, nae, chaos the cosmos contains.
Lifting the stone and appropriating it for my intended use as an element in a larger story I contextualise the seemingly arbitrary thing that was lying around. I personally feel that the simplicity of this act reveals the power we as humans have, to terraform our environment to suit our desires. This thought echoes throughout human history, from primitive stone tools to modern architecture.
In my latest series of exploits, the “Silverstone Caricatures”, I take this concept even further. Completely covering the stones with silver spray paint I change their ancient history, scars, surface with immediate effect. It almost feels like sacrilege when I spray them… but then again large amounts of earth are torn up and pulverised every minute all over the world. Ironic?
Drilling holes has been part of my larger rock projects which I am continuing with these smaller sculptures. Inserting and bending steel rods I use structural logic to attach my lenses.
Metaphorically the lenses play the roll of sight, of seeing or observing. But, who is observing? Is it the painted rock looking at us or are we scrutinising the rock?
These individual lenses are the pivot point on which my concept hinges. They create the portal between both parties, initiating the narrative and conversation between both observers.
I intentionally use the phenomenon of pareidolia, eliciting a reaction of animating the inanimate, giving it “life” through interaction by the spectator.
It all sounds so serious but as a matter of fact I am having fun. I hope to instil the same emotion of quirkiness and childhood discovery through my sculptures for the spectator that I experience.

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Air – A Solo Exhibition

Air opened last Friday. After many weeks, days and hours everything in my head congealed into physicality. I am happy.
The exhibition was opened by Samuel Isaacs, with wise and positive incantations.
Now there seems to be a hiatus, a break in the process. And it is exactly this process which has become important to me. The process has been a personal journey to fulfil my desire of making, of creating that idea from merely a chemo-electrical impulse lingering inside the cranium into a tangible thing.
All spectators at the opening night were pleasantly engaged within the space. Several patrons said that they loved the interaction, being drawn in and experiencing the within and beyond offered by the contained landscapes and immediacy I created.
Apart from the photographs (which are intended as reference and focal points for the Portals to the subject, “Air”) the spectators themselves played with the Portals lenses, peering and giggling at each other. Another intended spinoff was photography, people taking shots with their digital phones of each other and themselves. Even the chosen format of the photographs and the Portals themselves echo the square shots on Instagram and other social media channels.
The difference though is a sense of immediacy and not the quick consumption of second hand experiences.
Before entering the room an eye peers into the show and sets the scene, to look and experience. A fan moves air which in turn starts moving all the elements inside the exhibition space – photos fluttering and sculptures swaying.
The theme is serious. Air is invisible. It is life sustaining. We forget about it.
Air influences our weather, our quality of life, we all breath it in and exhale, irrespective of our social standing, race, health or age. We even share its molecules with other species and without air nothing living would survive on this planet.
Then why? Why do we neglect to look after it?
My inspiration came during a trip to Dubai last year. I noticed the inside spaces within buildings having a cooler, more comfortable air than outside. My attention was drawn to feeling, experiencing the invisible. I started taking a very conscious interest in ducts and fans. Also the movement of air, inside artificial spaces, and when exiting, outside. I still do.

For those that can, please make a turn past Art Lovers 1932 in Pretoria#AirExhibition will run till 24 Marc 2016

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The Aether is a “classical” element. It is that unattainable stuff that our planet floats in and in which light used to propagate throughout the cosmos.
Aether is also the air of gods, the clear, fresh sky as in Greek mythology. It is the inexplicable Zeug between you and I which we can feel as a breeze caressing our cheeks, but yet cannot see, taste or physically grasp.
Aether has an air of ancient spirituality to it. The age of modern science and analytical experimental research has changed all that. Its etherial meaning has been quantified into joules, knots and wavelengths.
The Aether has been given quantifiable Substance.

This is a pretext in which I have been delving for the past several years, that cusp between science and art, between history and presence, the real and the surreal.

My work explores these aspects of the here and there, consciously wanting the spectator to partake in a first-hand experience through the optical media of glass, juxtaposing our contemporary trend of consuming second-hand information through the battery operated lenses in our hands. (…and maybe even offering an alternative window to the spiritual…)

There also is a trend in my work which refers directly to my personal environment. Living next to an informal settlement with ca. 3000 people housing in tin shacks I am influenced by the immediacy of making due with what one has. I am using parts in my sculptures found around my studio such as rocks, wire, steel and even off-cut shards of glass.

These seemingly worthless objects and materials are reappropriated, given new life. Intervening in each part of the sculpture; by polishing facets or cutting patterns in the glass; straightening steel wires; drilling holes into rocks; I am adding value to the banality of the object. Combining these individual elements I instil a narrative which conforms to my initial concept – the immediacy of experience within our everyday lives.

Each sculpture is an individual step in this visual journey I am on. They are small interventions to rekindle that Aha! moment we all so desperately hunt for, but rarely experience in this thicket of visual overload.

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