This piece is a beautiful interactive collaborative work made from 6,000 new and used light bulbs.  Below are 2 links, one to a video and the other to the artist’s site. Check them out to see more of the making and interaction of the piece. I love it and had to share.

To see a video click here.

To read more click here.

CLOUD is a large-scale interactive sculpture created from 6,000 light bulbs, new and burnt-out. Constructed by Calgary-based artists Caitlind r.c. Brown and Wayne Garrett, CLOUD was on public display for one-night-only during Calgary’s first Nuit Blanche Festival. As part of the process of creating the sculpture, the artists collected burnt out incandescent light bulbs from local households, businesses, museums, and eco stations. The idea was to create an informal collaboration between the community and the artists, reduce costs, and experiment with the potential of items post-use.

A second edition of CLOUD is presently being constructed in Moscow, commissioned by Garage Center for Contemporary Culture. The piece will be on display as part of Art Experiment 2013 from January 2 – 23, 2013.

– Jessica Jane Julius

"Cloud"- made from 6000 new and used light bulbs. photo credit Doug Wong

“Cloud”- made from 6000 new and used light bulbs. photo credit Doug Wong

"Cloud"- made from 6000 new and used light bulbs. photo credit Doug Wong

“Cloud”- made from 6000 new and used light bulbs. photo credit Doug Wong

Opening tonight: Amber Cowan in group show at Wexler Gallery


“Reconstructions in Green”
Amber Cowan 2013
Flameworked and hot-sculpted American pressed glass
Dimensions variable / avg 8″x4″x4″

Don’t forget that Tyler Glass faculty member Amber Cowan (MFA 2010) has work in New Visions opening tonight at the Wexler Gallery. The reception is 5 – 8pm, and the gallery is located at the corner of 3rd and Race Streets in Philadelphia.

– Sharyn O’Mara

An Interview with Doreen Garner, BFA 2009


Doreen Garner 2009
Pull Your Own Weight
Cast Glass
Life size

Recently, we had a chance to catch up with Doreen Garner, Tyler Glass BFA 2009 and currently in her first year as an MFA candidate in Glass at RISD.

Tyler Glass: Last year, you applied to grad schools and were accepted into several programs. You chose RISD and were awarded a Presidential Scholarship. Those are very competitive. Can you tell me about the award?

Doreen: The Presidential Scholarship at RISD is awarded to exceptional artists applying to the MFA program. It is a competitive scholarship that is awarded based on excellence and merit. In addition, the scholarship is made especially available to artists that are considered culturally under-represented in art institutions.

Tyler Glass: That’s impressive. How did you feel when you found out that you had gotten the Scholarship?

Doreen: When I got the phone call that I was awarded the Presidential Scholarship I started screaming! I really wanted to be able to go to RISD for my MFA. In 2009, I had a conversation with Sharyn to discuss my proposal for the CARAS (Temple University’s Creative Arts and Research Grant) and my plans after graduating from Tyler. We talked about the possibility of grad school and how RISD had an amazing program and a very competitive scholarship that I thought at that time I would never qualify for. Three years later, she was probably the first person I called with the good news.


Doreen Garner 2009
Mind Space
Stained glass installation12 x 20′
(Tyler BFA Exhibition)

Doreen Garner 2009
Mind Space
Stained glass installation12 x 20′
(Tyler BFA Exhibition)

Tyler Glass: You got the CARAS grant, too! So, how is grad school?

Doreen: Being in grad school is unlike any other experience I’ve ever had. I’m seeking a new level of success in my career and studio practice that demands a lot of experimentation, brainstorming, and research. I’m very appreciative of being able to use this time to focus on my work and develop as an artist.

Tyler Glass: What’s your favorite thing about being at RISD?

Doreen: I think my favorite part of being at RISD is having access to the many resources that are available to students (great library, unique elective courses, RISD museum, etc.) Another great part about RISD is the faculty. Many of the faculty are extremely intelligent with diverse educational backgrounds and artistic practices. They’ve provided an abundance of feedback and advanced critiques that have been very useful in the progression of my studio practice.

Tyler Glass: We miss you! Do you miss anything about Tyler?

Doreen: I do miss a lot of things about Tyler. I think what I miss the most right now would be that glittering cold shop! There’s nothing like a clean, new, and well-lit cold shop to encourage you to take your time and finish a piece the right way. The sense of camaraderie and teamwork is a quality that I haven’t experienced truly in any other glass setting other than at Tyler. I realize now how blessed I was to have the people in my class. We were all very supportive of each other and had a special bond.

Tyler Glass: At Tyler, you made sculptures, installations, videos, and photographs that dealt with intense issues of race, gender, and culture. Afterward, your work became much more two-dimensional as you worked in stained glass and drew upon your strengths in drawing and painting to explore aspects of beauty. What are you making now?

Doreen: At Tyler I did produce a lot of sculptural work dealing with culture, gender, and perceptions of beauty. I do consider my stained glass pieces to be sculptural as well since they were used as elements in my installations. Currently, I am working with new materials and mediums. I’ve been working with video, sculpting and dissecting flesh, ceramics, collaging, and sound composition. Glass has been absent from my body of work during the fall semester but I have new ideas involving the material for the spring semester.

Doreen Garner 2012Procedure Pig Carcass 14x14x14 Procedure Pig Carcass 14x14x14

Doreen Garner 2012
Procedure Pig Carcass 14x14x14

Tyler Glass: How do you feel that Tyler prepared you for applying to a grad school, and for the rigor of a graduate program?

Doreen: I felt very supported by the Tyler faculty to continue my career in glass. I think Jon Clark and Dan Cutrone helped me to fall in love with the material and taught me how to really use it as a tool for self expression. Also, I met Sharyn when I was a freshman, and she really helped me to develop my ideas and take them to another level. When she became the Glass Program Head, the quality of my work increased even further. She encouraged me to really take it there and experiment with glass in conjunction with video, performance etc. I feel that passion and concept are two very important and crucial elements in creating “good work”. I feel that my experience at Tyler helped prepare me for grad school in an extreme way.


Doreen Garner 2012
Procedure Pig Carcass

Tyler Glass: When you were at Tyler, the faculty selected you for the Pilchuck half-scholarship award. Can you talk about this experience and how it changed your studio practice/work/ideas/goals?

Doreen: I was selected as the Partner Scholarship Award recipient in 2009. Getting this scholarship actually changed my life. I met lots of amazing people and learned lots of new techniques but the most important part about receiving that scholarship was knowing that the faculty at Tyler believed in me. It honestly helped me to believe in myself more. Granted, I loved art and I felt that I had something to say artistically, but it really touched my heart to know that other people wanted to help and see me make it. I can assume I wouldn’t be in the same place that I am right now without that opportunity.

Tyler Glass: You took a couple of years off between undergrad and grad school. What made the timing seem right to go back to school?

Doreen: In between undergrad and grad school, a lot of things took place in my life. When I graduated from Tyler, I was immediately offered a full time Master Painter position at Willet Hauser Architectural Glass. It is one of the oldest and most successful Stained Glass Studios in the United States. Later that year, I did a 6-week residency with the Creative Glass Center of America at Wheaton Arts and Cultural Center. In May I took a chance, quit my job, and decided that I needed to step away from the security of working full time. That summer I was a TA at Pilchuck and met Rashaad Newsome who was an Artist in Residence that session. I asked him if he needed an assistant and that summer I moved to NY and was exposed to life as an artist outside of the glass world. I worked as his administrative and production assistant for many months until I realized that I wanted to spend more of my time making my own work. At that moment I knew it was time to consider applying to grad school.

Tyler Glass: What are your plans for this summer, after your first year of grad school?

Doreen: The summer is still a mystery right now. I’m applying to some residencies and grant opportunities that would make it possible for me to travel over the summer. In addition to exhibition calls and collaborative project plans, I am also considering teaching continuing ed and summer courses at Art Institutions/Programs in Philly for some of the summer. I remember those classes playing an important role in my personal artistic development and I would like to help provide that same experience for someone else.

Tyler Glass: Thanks so much. Is there anything else that you would like to add?

Doreen: I feel that having completed my BFA at Tyler and an MFA at RISD… I HAVE THE BEST OF BOTH WORLDS! Watch out 2014!

Links to recent video works by Doreen Garner


Mark Making: 2





Shattered Glass Animals by Marta Klonowska


Marta Klonowska via thisiscolossal.com

Amazing shattered glass animals by Marta Klonowska via thisiscolossal.com. This looks like the one we saw in Glasstress at the Museum of Arts and Design last year on one of the Glass Program day trips to New York.
– Sharyn O’Mara

Artist in Residence at Millersville University: Paige Morris BFA 2012


Emerging Artist in Residence in Sculpture Paige Morris working in the studio at Millersville University

When she graduated from Tyler last spring, Paige Morris (BFA Glass) had just finished her BFA Exhibition “And also with you” with funding from a highly competitive Temple University CARAS (Creative Arts and Research Award) and was headed to Penland as Tyler’s half-scholarship winner for the class So to Speak, taught my Michael Rogers and Richard Meitner. In the fall, she started as the Emerging Artist in Residence in Sculpture at Millersville University.

This is a really great and unique residency. I first learned about it several years ago when one of my favorite people, Jennifer McTague (BFA Tyler Printmaking and co-founder/co-director of Second State Press) was selected for the residency program. Like Jenn, Paige has been working like crazy since she has been at Millersville and making great use of the opportunity to expand her studio practice and conceptual framework.

This is the official description of the residency program:

The Emerging Artist in Residence Program at Millersville University is a unique residency opportunity open to emerging artists who have completed their undergraduate degree and are seeking opportunities that will allow them to further their experience and concentrate on their art practice for a period of up to one year. During the residency, the EAR will have complete access to various studios and equipment as well as the university library.  They will also participate in and assist the advanced classes in their respective area, and will have the opportunity to meet with fellow residents and faculty for critiques and discussions.  The residency will culminate in a spring group exhibition in Millersville’s Sykes Gallery” from April 29th – May 16th.

Picture 6

Paige Morris 2012
Tap Shoes
Cast plastic
7” x 2” x 2.5” / child’s size 11.5

When I asked Paige for more info about the residency, she said: “The residency takes place during an entire academic year and is considered a volunteer-in-service position by the university. In exchange for studio space and use of the facilities, the resident artist commits to approximately 12 hours of work in the studio per week. For me, the main duties include being a teacher’s assistant to the Sculpture 1 class, participating in Advanced Sculpture critiques, and monitoring the studio. Residents are also required to show work in a group show at the end of the residency.”

I also asked Paige about what she has been focusing on in her studio practice.

“I have continued to produce molds in order to recontextualize objects I find intriguing. I have been playing with casting sugar as well as the more traditional slip casting which is still new to me. I also plan to work more digitally through video and sound pieces. Mainly, I have continued to have an open mind and practice through experimentation. Some new pieces I am considering will be deconstructed or built up through restrictive repetitive actions.”

“The new focus of my work has been ‘destruction’. Upon further discussion with Richard Meitner, I found that most of my past works have felt somewhat dead and stagnant. I wanted to breathe life into my works instead of making what appeared to be mementos. With that realization, I have spent a lot of time thinking about moments in my family’s life and in my own life that have caused some form of self-destruction; specifically the death of my grandfather, issues with anxiety, and the never ending pressure to conform to American society’s unrealistic beauty standards. Although these pieces stem from my experiences, they will be diluted in order to allow the audience to react and respond to them without knowing the full story behind each piece. I am finding it more important to attempt to convey an emotion rather than a story and allow the pieces to speak for themselves.”

Picture 5

Paige Morris 2012
Tap Shoes
Cast glass
7” x 2” x 2.5” / child’s size 11.5

It’s exciting to see Paige’s new work and to know that this residency is giving her the opportunity to continue to focus on her studio practice. And I’m really happy to see the great impact of her time at Penland – technically and conceptually, through conversations with Richard Meitner and Michael Rogers. Oh, and her work was accepted for New Glass Review – congratulations, Paige!

– Sharyn O’Mara