Upcoming Visiting Artist Lineup
April
Mel Carter
April 24-26
Mel Carter (they/them) is a Japanese American, Queer, and non-binary visual artist born and raised in the Bay Area on unceded Ohlone Land, now based in Seattle on Coast Salish lands. Their work is informed by experiences within the Japanese diaspora, queerness, exploration in modern witchcraft, rituals, and mythology, in tandem with waste reduction and environmental justice in the cultural context of the Pacific Northwest. Their studio practice combines mediums of sculpture, video, photography, elements of traditional Japanese dance, and installation.
They received their BFA from University of Washington’s Photomedia program in 2014, and have continued working professionally as a visual artist and photographer since. They were a recipient of the Emerging Artist Residency at Centrum and recently exhibited at Bumbershoot’s exhibition Out of Sight and the Well Well Projects in Portland. They are the Communications and Development Coordinator and photographer with yəhaw̓ Indigenous Creatives Collective, a nonprofit focused on supporting intertribal Indigenous artists and restoring greenspace for community that are currently rematriating 1.5 acres of undeveloped land in South Seattle.
Photo courtesy of the artist.
May
Ayano Yoshizumi
May 1-5
Ayano Yoshizumi, born in Japan, received her BFA from Tokyo’s Musashino Art University in 2014. In her professional career, Ayano took part in the Associate Training Program at the Jam Factory from 2019- 2020. Since her return to Japan in 2022, she has been working as a hot shop teaching assistant at Toyama Institute of Glass Art alongside Boyd Sugiki and Jin Hongo. She has exhibited internationally in the United States, Japan, Australia, and Italy. Ayano’s work utilizes space and color as primary tools for considering the work as a three-dimensional canvas to strike a unique balance between art and craft along with the serendipitous nature of the hot-glass medium with a twist. The building of both internal and external spaces using blown glass and painting creates a juxtaposed depth in space.
Photo courtesy of the artist.
Cedric Mitchell
May 8-12
Cedric Mitchell’s studio art glass practice is deeply influenced by 18th-century imperial Chinese glass and the innovative spirit of PostModernism. Through vibrant colors and intricate arrangements, he creates visually captivating sculptures and objects that embody both beauty and meaning. Drawing inspiration from street art and cherished childhood memories, his work transcends boundaries to offer a profound representation of the human experience.
Mitchell’s artistic journey requires discipline, dedication, and a strong sense of community. Collaborating with youth arts organizations and marginalized communities over the past decade has allowed the artist to refine his techniques while nurturing a robust social practice. He strives to make art accessible to all and support emerging artists to reach their full potential.
The Modern funk design Mitchell employs stands out for its vibrant colors, whimsical patterns, unconventional shapes, and the fusion of modernism and postmodernism. It rejects strict aesthetic rules, embracing individuality and self-expression. Drawing from retro pop culture aesthetics, it celebrates uniqueness and eccentricity, creating a playful and captivating atmosphere.
Ultimately, the artist’s goal is to create art that resonates with viewers, combining beauty with profound concepts. He believes in the transformative power of art and aim to contribute to a world where everyone has access to it.
Kelly O’Dell
May 22-26
When she was a year old, in 1974, Kelly O’Dell’s family moved from Seattle to the Big Island of Hawai’i. Growing up in one of the most culturally and biologically diverse regions in the world, her upbringing was in a volcanic paradise struggling with a legacy of colonialism. Her childhood steeped in an endless summer, she swam with glass-bottom boats and dove for coins tossed by their tourists. Kelly’s parents had an art studio in Kealakekua-Kona, and made their living using stained glass, blown glass, and pressed flowers. With interests in Oceanography, Astronomy, and Math, Kelly chose Glass as her primary focus at the University of Hawai’i at Manoa. The program offered her many opportunities to study and work at Pilchuck Glass School in Stanwood, WA, and she eventually relocated there as a member of the William Morris Winter Crew. Influenced by this talented team of artists and by her island upbringing, O’Dell’s work mainly examines species extinction and conservation, and human impact on the natural world. She has recently returned to island life, residing on Lopez Island, WA, with her husband Raven Skyriver and their 12-year-old son Wren.
Recent solo exhibitions include the Museum of Northwest Art and the Pittsburgh Glass Center. Recent group exhibitions include the Wadsworth Atheneum, the Whatcom Museum, Museum of Glass, the Fuller Craft Museum, and The Glasmuseum Lette of Coesfeld, Germany. Collections include the Museum of Glass Permanent Collection, the Kamm Teapot Foundation, the Washington State Art Collection, the Robert M. Minkoff Foundation, and the Glasmuseum Lette Collection.
O’Dell joins Museum of Glass in celebration of her 2023 Artists’ Choice Coney Award, awarded for the piece donated to the Museum’s annual Red Hot Auction & Gala.
Photo by Alex Grummer.
Crystal Z Campbell
May 29-June 2
Crystal Z Campbell, a 2021 Guggenheim Fellow in Fine Arts, is a multidisciplinary artist, experimental filmmaker, and writer of Black, Filipinx, and Chinese descents. Campbell finds complexity in public secrets, fragments of information known by many but undertold or unspoken. Campbell’s works center the underloved using archival material to consider historical gaps––from the narrative of the 1921 Tulsa Race Massacre, questions of immortality and medical ethics with Henrietta Lacks' “immortal” cell line, and gentrification via a 35mm film relic salvaged from a demolished Black activist theater in Brooklyn. Campbell’s creative practice spans painting, sculpture, performance, film, writing, and site-specific installations.
Campbell was a featured filmmaker at the 67th Flaherty Film Seminar and their film, REVOLVER, received the Silver Hugo at the Chicago International Film Festival and was featured in the Berlinale International Film Festival Expanded Film Forum. Campbell’s artwork and films have screened and exhibited internationally: Museum of Modern Art (MOMA), Artists Space, MIT List Visual Arts Center, Everson Museum, San Francisco Museum of Modern Art (SFMOMA), Bemis, Walker Art Center, European Media Art Festival (EMAF), The Drawing Center, Nest, ICA-Philadelphia, BLOCK Museum, REDCAT, Artissima, Studio Museum of Harlem, Bemis, Project Row Houses, Museum of Glass, SculptureCenter, EMPAC, and DocLisboa, amongst others. During the Museum of Glass Hot Shop residency, Campbell will be creating new glass works to be featured in their first solo museum exhibition at St. Louis Art Museum in Fall 2024.
A recipient of a 2022 Creative Capital Award, other honors include a Harvard Radcliffe Film Study Center Fellowship, Pollock-Krasner Award, MAP Fund, MacDowell, Skowhegan, Rijksakademie, Whitney ISP, Black Spatial Relics, and Franklin Furnace Award. Campbell’s artwork and films are held by MIT List Center, Duke University, MAG Rochester, Harvard University, and other collections in the US and abroad. Campbell’s writing is featured in two artist books published by Visual Studies Workshop Press and in contributions to World Literature Today, Monday Journal, GARAGE, Hyperallergic and Beacon Press. Campbell is currently a Visiting Associate Professor of Art and Media Study at the University at Buffalo in New York.
Her recent work, which poses questions of immortality and medical ethics, is featured in the Museum’s landmark exhibition A Two-Way Mirror: Double Consciousness in Contemporary Glass by Black Artists.
Photo courtesy of the artist.
June
Eleanor Anderson
June 5-9
Eleanor Anderson (b. 1988 in Cleveland, Ohio, she/her) received a BA from Colorado College and an MFA from the Fibers Department at Cranbrook Academy of Art (’22). Anderson works using a broad range of media including textiles, ceramics, prints and collage. She has completed residencies at the Textile Arts Center in Brooklyn, NY, The Women’s Studio Workshop in Rosendale, NY, The Tides Institute, Eastport ME, and Haystack Mountain School, Deer Isle, ME. She has taught workshops at Penland, Pocosin School of Crafts, as well as been a visiting professor at Colorado College, the Cleveland Institute of Art and College for Creative Studies in Detroit. In 2021 she was awarded the Outstanding Student Award from the Surface Design Association. She currently bases her studio in Hamtramck, Michigan.
Through Anderson’s art, she engages in world-making through the process of play and material-errantry. Her form of world-making uses craft traditions as a flexible constraint; she collaborates with materials and colors to achieve a coherence and consistency finely attuned to my intuitive judgment. She looks for openings in the making process where she can ply confident imperfections and deviations, subverting fixed expectations of the tradition or technique at hand. She often uses bright colors and repeating patterns as a way of injecting each project with evidence of the exuberant aliveness she feels when making art. Her practice seeks to alleviate daily doldrums and spiritless ways of living – instead, transforming objects and spaces into paratelic experiences. She gifts these works to the viewer as an optimistic nudge towards joy, connection and a playful awareness of how the larger world could be.
Photo by Jo Silver.
Benjamin Cobb
June 12-16
Through 25 years of working in glassblowing, Benjamin Cobb has honed his mastery of glass, traveled across the globe, and worked with hundreds of artists. An East Coast transplant, Cobb holds a BFA from the Rochester Institute of Technology and has been a demonstrating artist at glass studios as far afield as Sweden, the Czech Republic, Italy, and France. He’s taught at Penland School of Crafts, Pilchuck Glass School, and many other glass programs in the US. He’s a recognizable leader and voice in the glass community and has contributed to the success of countless works of art. In his own work, Cobb draws inspiration from the natural world as well as scientific process. His work has been exhibited at the Museum of Northwest Art in LaConner, WA, Museum of Glass, and dozens of galleries across the country.
Cobb has been part of the Museum of Glass Hot Shop Team for 22 years, and currently serves as Hot Shop Director and Lead Gaffer.
Photo courtesy of Museum of Glass.
Victoria Ahmadizadeh Melendez
June 19-23
Victoria Ahmadizadeh Melendez (b. 1988, she/her) combines poetry, images, glass objects and neon signage to create layered installations that draw inspiration from her Puerto Rican and Persian heritage. She has been awarded residencies at Pilchuck Glass School, MASS MoCA and the Corning Museum of Glass, among others. Her work has been shown at dozens of galleries and museums in the United States and abroad, including Glasmuseet Ebeltoft, S12, Heller Gallery, Traver Gallery and Museum of Glass. Her sculptures are included in New Glass Review #33, #38 and #42, annual journals documenting innovative artworks in glass. Victoria is the Director of The Bead Project at UrbanGlass, a program geared towards diversifying glass and supporting femmes as they learn how to work with the material. She is an Adjunct Associate Professor at Tyler School of Art, from which she received her BFA. She holds an MFA in Craft/Material Studies from VCU.
Her work was recently featured in the Museum’s exhibition She Bends: Redefining Neon Legacy, and her residency will combine her expertise with neon with blown glass in new ways. Ahmadizadeh Melendez’s residency is part of an ongoing partnership with Pilchuck Glass School.
Photo courtesy of the artist.
July
Iván Carmona
July 10-14
Iván Carmona’s ceramic work exists in a long lineage of abstracted, modernist sculpture that taps into a deep well of nostalgia and indirect association. Inspired by Puerto Rican landscapes, Carmona sifts his own intimate memories through distinct shapes, colors, and textures to give a physicality to the immaterial. The resulting clay forms become universal in their utilitarian means of activating specific human emotion. Their formalist simplicity invites an untranslatable response, a wholly unique echo of the original feeling. Stark, vibrant color mixes with precariously suspended components, opening up a private, inscrutable language that shifts with each viewer.
Carmona’s residency is part of the 2024 partnership with Pilchuck Glass School.
Photo courtesy of the artist.
Cheryl Derricotte
July 17-21
Cheryl Derricotte is a visual artist and her favorite mediums are glass, paper and textiles. Originally from Washington, DC, she lives and makes art in San Francisco, CA. Her art has been featured in the New York Times, The Guardian, The San Francisco Chronicle, MerciSF and the San Francisco Business Times. In 2021, She was awarded the commission to develop a monument to Harriet Tubman at the transit-oriented development Gateway at Millbrae Station, the first sculptural tribute to the abolitionist in glass. Entitled “Freedom’s Threshold,” the monument was unveiled on March 16, 2023.
From July 17-21, 2024, Cheryl will be a Visiting Artist at the Museum of Glass (MOG) in Tacoma, WA, commensurate with her work in the ground-breaking MOG exhibition, A Two-Way Mirror: Double Consciousness in Contemporary Glass by Black Artists. Prior to MOG, Cheryl served as the Spring 2024 Marva and John Warnock Artist-in-Residence/Visiting Professor at the University of Utah, Department of Art and Art History. She is 2023/2024 Kala Art Institute, Municipal Artist-in-Residence for the City of Berkeley’s Climate Equity Pilot Program. In 2022, Cheryl was named Inaugural BIPOC Artist-in-Residence at the Corning Museum of Glass: The Studio.
Additional honors include the Black(Space) Artist Residency at Minnesota Street Projects; 2020 YBCA100; This Will Take Time – Oakland Residency; Villa San Francisco/French Consulate Micro-Residency; Windgate Craft Fellowship at the Vermont Studio Center; the Antenna/Paper Machine Residency (New Orleans); and the Hemera Foundation Tending Space Fellowship for Artists. Glass awards include the Rick and Val Beck Scholarship for Glass Art and the Alliance for Contemporary Glass’ Visionary Scholarship. Cheryl was an inaugural Emerging Artist at the Museum of the African Diaspora in 2015/2016, on the occasion of the Museum’s 10th Anniversary.
Her work is in the permanent collections of the de Young Museum, the Historic New Orleans Collection, the Oakland Museum of California, the San Francisco Public Library and the National Association of Homebuilders. Cheryl holds a B.A. in Urban Affairs (Minor: History), Barnard College, Columbia University; the Master of Regional Planning, Cornell University and the Master of Fine Arts, California Institute of Integral Studies. A licensed city planner and member of the American Institute of Certified Planners since 1995, she serves as the Professional Development Officer of the new Arts & Planning Division of the American Planning Association.
Derricotte’s work is featured in the Museum’s landmark exhibition A Two-Way Mirror: Double Consciousness in Contemporary Glass by Black Artists.
Photo courtesy of the artist.
Cheryl Derricotte (African American, born 1965). Glass Boys: All Black 1, 2022. Kilnformed glass, powder printing. 12 × 18 × 1 in. (30.5 × 45.7 × 2.5 cm). Collection of Shireen McSpadden. Photo by Donald Felton, Almac Camera.
August
Hilltop Artists
July 31-August 4
Hilltop Artists is a youth development arts nonprofit in Tacoma, Washington operating deeply impactful programs since 1994 with broad community support, and a track record of success.
Hilltop Artists serves over 650 students a year ages 12 – 26 through its programming, providing tuition-free glass instruction, mentorship, and collaborative leadership opportunities.
Hilltop Artists is dedicated to its mission: Using glass art to connect young people from diverse cultural and economic backgrounds to better futures.
In addition to the now world class hot shop at Hilltop Heritage Middle School, Hilltop Artists has grown to include a hot shop at Silas (formerly Wilson) High School. Tacoma Public Schools has partnered with Hilltop Artists since the beginning, highlighting the organization as a positive force in increasing students’ academic and interpersonal success.
Photo Courtesy of Museum of Glass.
Raven Skyriver
August 9-11
Born in 1982, Raven Skyriver started blowing glass in high school at the age of sixteen. Raven’s mentor, Lark Dalton, taught him how to build glass blowing equipment and trained him in the traditional Venetian technique. In 2003 Raven was invited to join the William Morris team. He worked on the team until Morris' retirement in 2007. The experience of working with such a talented group of artists galvanized his decision to follow glass sculpture as a profession.
Raven lives near the Pilchuck Glass School in Stanwood, Washington, and produces his work in the greater Seattle area. Raven shows his work nationally and has been featured in group shows internationally. His focus in the area of sculpture, and the depiction of marine life is inspired by his island upbringing, and informed by the creatures that inhabit this fragile ecosystem.
Raven Skyriver joins us in celebration of Glass Fest Northwest and in partnership with IN THE SPIRIT Arts Market & Northwest Native Festival.
Photo courtesy of the artist.
Nadège Desgenétez
August 14-18
Nadège Desgenétez is an artist and educator born in France. She has taught and exhibited her work in Europe, North America, Asia, and Australia. She is represented by Heller Gallery (NY), Traver Gallery (Seattle), The Something Machine (Bellport), and Galerie Mouvements Modernes (Paris, France).
Desgenétez has received international honors, including the "Prix de la Vocation" from Fondation Marcel Bleustein Blanchet (Paris, France), grants from Arts ACT and the Australia Council for the Arts, and residencies from institutions such as Northlands Creative Glass (Lybster, UK), Pittsburgh Glass Center (Pittsburgh, USA), and the Museum of Glass (Tacoma, USA). Her work is held in private and public collections, including the Carnegie Museum of Art (USA), the Corning Museum of Glass (USA), The Museum of Glass in Tacoma (USA), The Speed Art Museum in Louisville (USA), and The Toledo Museum of Art (USA).
Desgenétez’s work is inspired by experiences of migration, connection to, and disconnection from place and others. It explores how to convey and foster feelings of interrelation with the world by mining the unique abilities of glass to echo natural forms while engaging light and space.
Photo courtesy of the artist.
September
Rogan Gregory
September 11-15
Rogan Gregory’s work reflects his life-long interest in abstract forms, geology, ecological systems, evolutionary biology, and the impact of humans on the natural environment. Inspired by the ways in which elements and the continuum of time shape our world, Gregory works repetitively, emulating the recurring developmental processes of life.
He meditates online and proportion to achieve incongruous balance and asymmetrical harmony, ultimate truths in nature. Gregory works in a wide range of time-honored materials such as stone, bronze and wood. He pairs these known materials with those less familiar to develop aggregated surfaces that elude simple classification. This experimentation allows the artist to develop a unique aesthetic, unlike that of any artist working today.
The artist’s exploratory methods are best realized in his Fertility Form and Sentient Space series. In the Fertility Form series, Gregory sculpturally interprets the cycle of life, referencing sexual intercourse and the fertilization of cells, as well as cell division and the subsequent processes in the evolving life cycle. In his Sentient Space series, he explores the interaction of life forms at the cellular level and their amorphic configurations. He envisions their existence on exoplanets not yet discovered and considers how they might relate to life in the uncharted depths of the Earth’s oceans. Altogether, Gregory’s practice reveals a unique mythos that is elegantly executed through minimal forms and distinct materials, seamlessly translated into sculptural and functional work.
Rogan Gregory began his career in New York City as a design consultant for luxury fashion brands. He designed his first eponymous clothing collection in 2001, and, in 2007, he received the Vogue/CFDA fashion fund award. Gregory had his first solo exhibition with R & Company in 2016 and developed a new, highly successful body of work for his second show with the gallery in the fall of 2018. He has been featured in multiple media outlets, including Architectural Digest, The Wall Street Journal Design, Elle Décor, Wallpaper and Surface.
Photo by Joe Kramm.
Photo by Joe Kramm.
October
Beccy Feather
October 16-20
Beccy Feather is a British born glassmaker who lives and works in Bremerton, WA. Beccy has an MFA from Rochester Institute of Technology and has consistently pushed to elevate her artwork and invest in the education of the community. She navigates daily between the roles of production flame worker, artist, educator, and tea-drinker. Her art work is a mixture of fine craft, humor, and home science.
Feather comes to the Hot Shop as the People’s Choice Coney Award winner at the 2023 Red Hot Auction and Gala.
beccyfeather.com
@beccyfeather
Zac Weinberg
October 30-November 3
Zac Weinberg’s projects address the systems by which we interpret and allocate status to objects. His glass and mixed media works have been exhibited at home and abroad in venues including The Sculpture Center, Cleveland, and Glasmuseet Ebeltoft. Weinberg, who received a BFA from Alfred University and an MFA from OSU, was the inaugural Kanik Chung Memorial Fellow at MassArt. He lives and works as an artist/educator/technician in Northwest Ohio.
Photo courtesy of the artist.
November
Crystal Worl
November 13-17
Crystal Kaakeeyáa Worl is Athabascan, Filipino, and Tlingit from Raven moiety, Sockeye Clan, from the Raven House. She is Deg Hit’an Athabascan from Fairbanks Alaska.
Crystal is a talented multidisciplinary artist based in Juneau, Alaska. She draws inspiration from her cultural roots and the natural world around her. Worl's artwork is diverse, ranging from Tlingit Northwest Coast design to contemporary multimedia pieces. Her work often explores themes of identity, connection to land, and the interplay between traditional and modern ways of life. In addition to creating art, Worl is also an advocate for Indigenous rights and works to promote cultural awareness and understanding through her art. Her work has been exhibited in galleries and museums around the world and she continues to be a prominent voice in the Indigenous art community.
Today Crystal lives in Juneau, Alaska, working as a co-owner and co-designer of Trickster Company with her brother Rico Worl.
Crystal Worl joins Museum of Glass in a first-ever collaboration with Port of Seattle. Worl was one of two artists selected by Port of Seattle to create large-scale public art installations for Seattle-Tacoma International Airport’s C Concourse Expansion project. The project, a collaboration between the Port and two iconic Pacific Northwest cultural institutions, Museum of Glass, and Pilchuck Glass School, will allow Worl time and resources to undertake this project of massive scale.
Photo by Ingrid Barrentine.
Xáat Kwáani (Salmon People), Alaska Airlines 737-800. Photo courtesy of the artist.
Todd Jannausch
November 20-22
Originally from Michigan, Todd Jannausch spent his early career as a ship fitter in the Navy and as a professional shipwright before transitioning to a career focused on art. Since that time, he has taught and worked at Pratt Fine Arts Center, The University of Puget Sound, Two Ravens Studio and Foundry, and Grand Image. In addition to teaching and fabrication, Jannausch co-founded Feast Arts Center in Tacoma, where he curated exhibitions and created community-driven arts events. He has received numerous awards and grants, including a 2015 Artist Trust Fellowship award. His work has been exhibited regionally at the Frye Art Museum and Bellevue Art Museum.
In 2022, Jannausch began working on a new body of work utilizing glass and concrete. Manipulating these materials into abstracted forms, he explores the intricate interplay of strength and fragility.
Photo courtesy of the artist.
Jason Christian
November 27, 29, and 30
Jason Christian is a glass artist living in the Seattle area. He was born in 1976 to a metal fabricator and a cardiac nurse. He became involved in glass art at the age of 21- starting as a factory charger, slowly developing his glass knowledge through experience. He has worked with a variety of well-known artists in the Seattle community, including Martin Blank, Preston Singletary, James Mongraine, and Nancy Callan. For almost a decade he has been an integral member of Dale Chihuly’s boathouse team, collaborating and working with international artists, including Pino Singnoretti. His individual work explores the art of reticello, classical Venetian techniques, and modern simplicity. As of recent, he has been developing art inspired by the works of Faberge- combining the delicate complexity of reticello with the intricate detailing Faberge’s eggs are known for.
December
Boyd Sugiki and Lisa Zerkowitz
December 11-15
Boyd Sugiki and Lisa Zerkowitz began blowing glass together at Rhode Island School of Design, where Sugiki earned his MFA in Glass and Zerkowitz her MA in Art Education. Their studio is based in Seattle; however, they temporarily live in Japan while Sugiki teaches at Toyama Institute of Glass Art. They make exhibition work independently, as well as design and produce a line of studio glass collaboratively under the name Two Tone Studios. In the US they often teach intensive workshops at The Studio of the Corning Museum of Glass, Penland School of Craft, and Pittsburgh Glass Center. They have lectured and demonstrated throughout the US and Japan, as well as in Australia, Ireland, Finland, Korea, and Turkey.
Their hand-blown glass decorative objects and tableware are designed and individually made without the use of molds. A respect for clean lines and palatable colors lay the foundation, in search of and reaching for unique design and skillful craftsmanship. Inspired by mid-century design and the colorful palette of Fiesta ware, the work is deceptively simple in form and process – providing elegant statement pieces as well as whimsical objects. Two Tone Studios refers to two voices behind the work.
Photo courtesy of the artist.