When speaking about Venetian or Bohemian glass, do we only refer to characteristic techniques, specific form language and use of colour? When speaking about Japanese or Canadian glass, do we immediately relate this to cultural traditions, national symbols and natural characteristics? Or do we only refer to the geographical origin when we speak about Belgian glass?
The idea arose to call attention to glass from a different country every year through exhibitions, lectures, demonstrations, workshops, and performances. In 2008, the GlazenHuis organized the ‘Katamari Glass – contemporary Japanese glass’ project of the Sandbox art collective. In the autumn of 2009, the GlazenHuis displayed contemporary Canadian glass. The exhibition got the title ‘Tenuous Tenacity’. A tenacious play upon words with a tenuous content.
From a broad generation we selected 17 Canadian artists and designers. A varied mix of established values and upcoming talents defines ‘Contemporary Canadian Glass’. They explored the bounds of form as well as content.
But how identifiable is ‘Canadian glass’? Or will it remain a mere reference to a national framework in which both a personal and a universal presentation of questions will take place?
Brad COPPING en Jeroen MAES
Jocelyne PRINCE, Katherine GRAY, Rika HAWES, Susan RANKIN, Karli SEARS, Tyler ROCK, Sally MCCUBBIN, Rachel WONG, Carole PILON, Catherine HIBBITS, Ione THORKELSSON, Brad TURNER, Aaron OUSSOREN, Michèle LAPOINTE, John Paul ROBINSON, Kevin LOCKAU, Brad COPPING