2013 HAUBERG FELLOWSHIP APPLICATIONS DUE JANUARY 14, 2013 (CLOSED)
MAY 6–17, 2013
Named for Pilchuck co-founder John H. Hauberg (1916–2002)—philanthropist, art collector, and important patron of artists—the fellowship was established to encourage collaboration among a group of outstanding artists.
Often inspired by Pilchuck’s energy and environment, the artists who take part in this twelve-day residency are known for fostering collaboration and exchange within their self-defined group. Visual artists in all media as well as writers, poets, art critics, and curators who want an opportunity to work in proximity to one another for dialogue and exchange are encouraged to submit group proposals with a collaborative concept or theme that makes creative use of Pilchuck’s resources and surroundings.
The residency is limited to one group composed of a maximum of six artists. Some members of this group must have had previous experience with Pilchuck’s glassmaking facilities if they propose to use them, as limited technical assistance is available.
Proposals should outline the group’s collaborative concept or theme, creative goals,
and what the group expects to gain from creating while living on the
Pilchuck campus. Proposals should also address equipment needs, each group member’s skill
level and experience with intended materials and processes, and
previous experience at Pilchuck, in any. Successful applicants will be motivated in their creative endeavors and self-instructing in glass techniques.
Hauberg Fellows may use the vitreography studio; plaster studios; fusing, slumping, and casting kilns; and coldworking equipment. During this time, Pilchuck’s hot shop facilities are being used by other groups, and therefore no hot glassworking is available.
The residency includes living accommodations, meals, open studio space, and some limited supplies. Reimbursement for travel costs and honorarium are not provided.
For more information, please contact Becca Arday, Registrar, at registrar@pilchuck.com or 360-445-3111 ext. 29.
GROUP RESIDENCY APPLICATION INSTRUCTIONS
| UNEXPECTED GLASS Don’t tell me the moon is shining; show me the glint of light on broken glass. – Anton Chekhov Unexpected Glass is a collaborative of artists who investigate glass as material and metaphor. Each artist will individually and collaboratively create unexpected form, use, concept, or function of glass, and translate that into a work of art. The artists aim to transcend the boundaries of traditional glass art forms and create finished works to be exhibited in a group show, Unexpected Glass, anticipated in late 2013, at Don Soker Contemporary Art in San Francisco. |
| | JULIE ALLAND works with glass in
methods that deliberately deviate from glass’ tradition as a craft
medium. In her castings, she includes organic materials that burn and
activate chemical reactions, trap bubbles, and create ghost images in an
unpredictable way. Julie has been working with glass for 11 years, and
she has attended Pilchuck as a student and teaching assistant.
|
| | JD BELTRAN is an interdisciplinary
artist focused on exploring the language and storytelling potential of
materials–what does a painted portrait of someone say that a photograph
of them says differently? She explores glass filters, plates, prismatic
glass, and the form of the kaleidoscopic lens in combination with film,
moving imagery, and projections (using tiny powered projectors) to
create unexpected, novel, interactive storytelling art forms.
|
| | LISA K. BLATT explores the intersection between the still and moving image, and how landscape may represent infinity and finality. A photographer by training, she re-purposes the clear glass from picture frames, reconfiguring cut glass pieces to create unexpected organic and geometric shadows on the wall—“landscape photographs without the photograph.”
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| | TRACY TAYLOR GRUBBS explores themes
related to impermanence and the changing nature of form. How can the
static position of a single view give way to the ecstatic possibilities
of the ephemeral? At Pilchuck, her work will be inspired by the
ephemeral tools used in the hot shop, including the charred remains of
wooden paddles and blocks, and wads of wet paper.
|
| | CARRIE IVERSON’s work incorporates
both printmaking and glass, often combined into multipart installations.
She allows the properties of the materials to suggest and guide the
content through their ability to retain a record of how the piece was
created. Carrie invented the lithography based glass process “Image
Transfers for Kiln Glass,” and currently teaches workshops on the
technique. |
| | GAY OUTLAW works with a unique palette
of materials, ranging from the traditional to the ephemeral. She draws
upon her immediate environment, as well as her personal history, to make
forms with a strong sense of pattern and play. She first attended
Pilchuck as a student in 1993, and she continues to work with kiln
casting techniques, mold blown forms, and pate de verre.
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