The Venice Glass Week
The Venice Glass Week HUB
Glass in Venice 2023 Prize
The Venice Glass Week HUB hosts a series of installations in Campo Santo Stefano, at the Istituto Veneto di Scienze, Lettere ed Arti in Palazzo Loredan - until September 17. Works by national and international artists are exhibited in the magnificent rooms of the piano nobile. Also on show works by Guido Ferro and Giorgio Vigna, winners of the Glass in Venice 2023 Prize, are on display in the evocative setting of the atrium of the Palazzo Loredan, among the illustrious effigies of the Panteon Veneto. The Prize committee consisted of Rosa Barovier, Giovanna Palandri, Chiara Squarcina and Cristina Tonini.
Giorgio Vigna - Glass in Venice 2023 Prize
Giorgio Vigna - Glass in Venice 2023 Prize
Guido Ferro - Glass in Venice 2023 Prize
Leslie Ann Genninger
Scarti Redux
Scarti Redux shines a light on a dilemma: Murano’s Glass waste. These waste elements are fundamental, they contain precious minerals and are an essential part of the process of Murano blowing techniques. For centuries they have been consigned as landfill waste, only useful to extend Murano’s borders. A botanical regrowth, a hybrid species, Scarti Redux continues the dialogue of the concept of waste to help Murano's survival and revival.
Hugh Findletar
Generationz Mvran
Hugh Findletar - b. Jamaica, 1967 - was raised in New York and now lives and works between Milan and Venice. His initiation into Glass was in Kenya and he was later inspired by floral compositions in Japan. His works are therefore the result of multiple influences, cultures and contaminations. A portrait photographer with a passion for flowers and Murano Glass, the artist creates iconic sculpture-portraits, such as his famous FLOWERheadZ.
Hugh Findletar
Hugh Findletar - Generationz Mvran
Micaela Cattai
Botanica Adriatica
Botanica Adriatica is a project by Michela Cattai created with master glassmaker Andrea Zilio. The skill of the Master's manual gesture puts the artist's creative idea into shape. A synthesis that involves the 'know-how' of the blown glass tradition of Murano and its marine territory of the upper Adriatic. The execution of the creative project, which sees organic and natural forms - takes into account the biodiversity of the territory.
Micaela Cattai - Botanica Adriatica
Peter Wiechenthaler
Grown Glass
The Grown Glass sculptures combine death and life. They give back value to death and create something new out of it. Glass sheets are cut, sanded, glued and reshaped in order to create the artwork. It is a gradual process that requires patience and perseverance, as each stage builds on the previous one. The artwork evokes a sense of the natural world and invites the viewer to reflect on his own relationship with it.
Myriam Thomas
Tra Cielo e Terra
In Flanders, beguinages were established from the 13th century onwards for women who wanted to lead a devout life without taking a monastic vow. From 1940 on, the beguine movement declined sharply and in Flanders it has completely died down since. Glass artist Myriam Thomas used some archive daily life photos from beguines in Ghent around 1920 as starting material to evoke a now silenced world in a small 3D installation of viewing boxes.
Myriam Thomas - Tra Cielo e Terra
Balazs Sipos
Lotte Interiori
The problems of our time, and the inner struggles that come thereof, are the subject of Sipos' sculptures. The grotesque and the humor are the tools through which he expresses himself in an indirect way. Due to its transparency, the nature of glass provides a new point of view which helps reveal the connections between the hidden forms. Both internal and external forms complement each other, thus creating a unit in their own interpretation.
Svetlana Evdokimova
Three Flora Muses: Peonies - Dandelions - Thistle
While maintaining a lifelike form, these static sculptures breathe, move and communicate thanks to their vivid structures and colours. The togetherness of sculptures and light draws the viewer into the works, inviting them to reflect on their own feelings and on understanding the most complicated material – themselves. Going back to nature is key to rediscovering the source of our feelings and worries.
Svetlana Evdokimova - Three Flora Muses: Peonies - Dandelions - Thistle
Looking Out and In Again
The inspiration for Looking Out and In Again is the Wardian Case, a Glass terrarium invented in 1829, which changed the way plants could be successfully transported from one country to another. As the piece rotates, the panes reflect the flora around the room, a constellation travels across the ceiling and the house appears to deconstruct and reconstruct itself all over again.
Tristano di Robilant
Beyond the Water
Tristano di Robilant’s installation comprises five sculptures which are hand blown in Murano with the collaboration of maestro Andrea Zilio. The title of the installation, Beyond the Water, is a phrase that in Venetian dialect can simply mean that which lies beyond the canal. More loosely it can imply that which lies beyond the lagoon and, even further, that which lies beyond the open sea - a place that appears metaphorically, existing somehow elsewhere.
Tristano di Robilant - Beyond the Water
Jewelled
Feleksan Onar returns to Venice with three jewel-like tables, each depicting a different gemstone, such as emerald, topaz and amethyst. The hand-sculpted Glass tables are kiln cast, wheel polished and later “set” into metal cast legs, praising each one like a precious stone.
Text
Courtesy - The Venice Glass Week
