Talking Out Your Glass podcast

Investigating interpersonal themes and the notion of community, Jen Elek is a studio artist and educator based in Seattle, Washington. She creates objects and installations of colorful glass and neon light employed as a form of non-verbal communication. Her most recent glass series titled Doliums is inspired by large Roman clay storage containers. Elek received her BFA from Alfred University in Metal and Hot Glass sculpture in 1994, after training as a welder in Allentown, Pennsylvania. She was a student of Michael Scheiner, Dante Marioni, and Ann Wahlstrom at Pilchuck Glass School, and studied with Maestro Lino Tagliapietra at Haystack Mountain School of Crafts. In addition to creating her own work, Elek has assisted glass artists such as Dale Chihuly, Kiki Smith, Preston Singletary, and Tagliapietra, on whose team she worked as a key member for 15 years. A vibrant contemporary glass artist, she exhibits alongside artists of other mediums, breaking some of the barriers that have kept glass in the realm of craft and offering it as a worthy medium of contemporary art. A member of the Northwest artist community, Elek's involvement in art organizations includes: Pilchuck Glass School, the Museum of Glass in Tacoma, Hilltop Artists, and as a guest lecturer at the University of Washington in Seattle. Her work has been exhibited at the Museum of Glass in Tacoma, Tacoma Art Museum, Pittsburgh Glass Center, and Traver Gallery in Seattle. Elek maintains a studio in south Seattle with husband Jeremy Bert, a Pacific Northwest neon artist with whom she collaborated on their project Illuminated Forest as well as a permanent public installation titled The Illuminated Palouse for the Port of Seattle, located near the D gates at SeaTac International Airport. Utilizing blown furnace glass, Elek creates sculptural objects that display the material's ability to reflect, magnify and represent bold color. Traditional and innovative processes combine in her work to create colorful landscapes of glass. In the spring of 2017, she was awarded the Pilchuck Artist at Work Residency where she developed a new body of work titled Visual Fun, which highlighted the infallibility and vibrant colors of glass. Elek has traveled to Canada, Japan, Australia, and throughout the United States teaching glassblowing workshops. In 2026 she will be an instructor at Tulsa Glassblowing School, Tulsa, Oklahoma, May 14 – 19, residency May 20 – 23; at UrbanGlass, Brooklyn, New York, June 23 – 27; and at the Studio of the Corning Museum of Glass, Corning, New York, August 31 – September 5. She will be a gaffer at Pilchuck Glass School, Stanwood, Washington, July 9 – 26.

Susan Stinsmuehlen-Amend is an artist for whom ideas have always been more important than media, and possibly more integral to her work. It's interesting then that her art has been consistently viewed through the lens of glass. In the creation of her early X series to more recent Calendar Notations, she has pioneered techniques such as non-traditional, unfired painting on glass, mixing glass with other media, and presenting painted, decorated glass on the wall in reflected light. Throughout her career, the artist distilled her own life experiences in the creation of progressive and experimental work. While studying Fine Arts at the University of Texas, Austin, in 1973, Stinsmuehlen-Amend was serendipitously introduced to glass and went on to become partner with Rodney Smith and designer of Renaissance Glass, an architectural glass studio. Beyond teaching and employing 14 artists, she built a creative hub that included studio space, glass supplies, a hot glass studio, education and exhibitions. Understanding the cutting edge in the field, Stinsmuehlen-Amend invited luminaries in the Studio Glass movement such as Dale Chihuly, Paul Marioni, William Morris, and Narcissus Quagliata, among others, to lecture and teach in the early 1980s. The studio became the center for contemporary glass in Texas from 1973 to 1987. While balancing single motherhood, donating time to the arts, and running her business, she became the Glass Art Society's first woman president (1984 – '86). Concurrent with designing stained glass commissions, Stinsmuehlen-Amend was determined to make the craft form a means for personal expression. Through experimentation and rebellion and influenced by the local punk scene, her radical fashion designer best friend, Pattern & Decoration and Neo-Expressionism in art, as well as innovations in the world of craft, her work became unrestrained, kinetic, glittery, and jarring—defiantly not "tasteful" or functional. Combining mixed media with glass was a new idea at the time. For Stinsmuehlen-Amend, the shifting qualities of glass itself—its capacity to reveal, obscure, reflect, and distort—became integral to how meaning unfolds. Rooted in stained glass's narrative tradition, her story emerged through her everyday stream of consciousness rooted in the surreal logic of dreams. In 1987, Stinsmuehlen-Amend relocated to Los Angeles, where she became a full-time artist; solo exhibitions and dynamic public art commissions followed. She was the lead artist on the Hollywood Demonstration Project in Hollywood, completing a precast concrete crosswalk with inlaid glass and bronze and an adjunct wrought iron public space. In 1994, she completed leaded glass for the AT&T corporate headquarters and The Jewish Museum, both in in New York City. Throughout these decades, she maintained her commitment to teaching, returning to Pilchuck Glass School repeatedly (1980 to 2019) and serving as a visiting artist at RISD, RIT, Tyler School of Art, California College of the Arts, and numerous other institutions. Stinsmuehlen-Amend's work is included in major collections including the Los Angeles County Museum of Art, Detroit Institute of the Arts, Oakland Museum of California, Corning Museum of Glass, Tacoma Museum of Glass, and Museum of Art and Design. She has received two National Endowment for the Arts Fellowships, two Pilchuck Hauberg Fellowships, and the 2007 Brychtová Libenský Award. The artist served 14 years on Pilchuck's Board of Directors and is a Trustee Emeritus of The American Craft Council and an Honorary Life Member of the Glass Art Society. She was recently awarded by the American Craft Council with the biennial College of Fellows honor for contributions to the craft ecosystem. Opening on May 16, 2026, at the Corning Museum of Glass, Tough Stuff: Women in the American Glass Studio will feature Stinsmuehlen-Amend's work. This new exhibition celebrates the female artists who revolutionized American Studio glass. The artist states: "Many artists found my loose and inclusive approach to working with glass inspirational because I was continually violating preconceived notions about craft and glass specifically."

Rick Beck's modern cast and carved figurative glass sculptures are inspired by industrial and architectural works as well as the human form, with an emphasis on formal aspects. Interested in playing the volumes of mass against the rhythm of the lines, Beck enjoys the interplay of the visual versus the verbal, creating art that challenges the eye as well as the mind. Beck states: "My wife, Valerie, got me a book about the competitive relationship between Picasso and Matisse. Their artistic dialogue about the figure has fired my imagination, especially the way they shared and borrowed images and ideas from one another, as well as from history and literature. Between this book and visits to the Art Institute of Chicago, I've been inspired by the use of shape, form, and mass to create something more universal than the literal subject." A studio artist who was based in Spruce Pine, North Carolina, for 30 years before moving to Hawaii in 2020, Beck began working in glass at Hastings College in Nebraska, where he received his BA. The artist received his MFA from Southern Illinois University, where he studied with Bill Boysen. He was awarded residencies at the Appalachian Center for Crafts 1989 to 1991, and in 1994 received a Visual Arts Fellowship from the North Carolina Arts Council, followed by a National Endowment for the Arts regional Visual Arts Fellowship from the Southern Arts Federation in 1995. A student of the Studio Glass movement, Beck has assisted at Pilchuck Glass School, assisting artists Curtiss Brock and Jan Mares, as well as at the Penland School of Craft. Beck currently shares a studio with wife Valerie Thomas Beck in Hakalau, Hawaii. Valerie has been a designer and co-conspirator to Rick since 1984. Both artists have been artists-in-residence at Penland School of Crafts, North Carolina, (1991-94) and have also been instructors there. Their blown glass work consists mainly of vessels – canvasses for imagery based on dreams and experiences ranging from the sublime to the ridiculous. These vessels document their lives while providing beauty and pleasure. Since moving to the Big Island, Beck's challenge in making glass work is two-fold. First, to create work without using fossil fuels or adding to the demand for capacity on the electrical grid. Their new studio is powered by a solar/photo voltaic and battery system. Second, to create work that excites and challenges his concepts of art inside these new energy parameters. For him, formal aspects are crucial. Beck stretches and manipulates common shapes and objects, reducing the objects to pattern and geometry. Currently, he is producing work focusing on the geometry of life, plant, and human forms. Beck's work will be on view in 2026 at Blue Print Gallery, Dallas, Texas, opening February 26; at Hidell Brooks Gallery, Charlotte, North Carolina, in May; at Blue Spiral 1 group show, Asheville, North Carolina; and at Ken Saunders, Chicago, Illinois. His work is also represented by Raven Gallery, Aspen, Colorado.

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Upon graduation from the Tyler School of Art and Architecture with a BFA in glass, Gemma Hollister was awarded the Windgate-Lamar fellowship from the Center for Craft, which allowed her and her partner to start a small studio in Philadelphia, Antolini Glass Co. While balancing her personal artistic practice and work as a production glassblower, the artist recently appeared on Netflix's Blown Away: Extreme Heat. The show inspired new work, which she made both in her own studio and during a residency at Monterey Glassworks. States Hollister: "Blown Away gave me a chance to challenge myself and level up my skills in glassmaking. It isn't very often that you are given such specific parameters and a time crunch to make your work. I gained so much confidence in myself as a gaffer and an artist. Looking back, it was also very special to me to be able to represent a younger generation of glassblowers, especially female glassblowers, on such a big stage." A 2023 Saxe Emerging Artist nominee, Hollister developed a practice that involves creating fantastical objects, sculptures, and installations that center around themes of imagination and control, manifesting as both literal and abstract sculpture. For her, working with glass is an exercise in the belief that her own actions directly affect change. She works to further understand the material so that she can control its outcomes by working with direction and intention. She says: "The act of creating glass, as in many crafts, is a protest against an unresolved and rapidly evolving technological world. Glass historically has proven the power to educate, inspire, and call to action those who observe it. In my practice, I manipulate traditional associations with both blown and stained glass — its narrative structure and divine light — by addressing contemporary issues that I want viewers to reflect upon." Hollister has traveled the country as a student and teaching assistant at institutions such as the Corning Museum of Glass (CMoG) and Pilchuck Glass School. She received a partial workshop scholarship from CMoG in 2024 and a Pilchuck Glass School Summer Staff Scholarship in 2023. She has been a teaching assistant to both hot glass and stained glass greats such as Martin Janecký, Jason McDonald, Bill Gudenrath, Aya Oki and Judith Schaechter. Hollister participated in Blown Away Season 4 Group Exhibition at CMoG in 2024, an exhibition with Karen Willenbrink Johnsen and Morgan Peterson at Traver Gallery, and a solo exhibition titled Heaven Is Full Of Junk in 2022. She will teach in 2026 at CMoG August 9 through 22 with her partner Tate Newfield.

Michael (Mick) Meilahn's body of work, which includes glass sculpture and large glass and multi-media installations, intertwines the artist's investigation into agriculture, crop production, genetic food modification, and the ancient history of corn. Primordial Shift, a quintessential example of Meilahn's later installations, consisted of 32 hand-blown glass ears of corn averaging 4-feet high, suspended on stalks of cord with leaves of cast bronze on a backdrop of video projected to create an illusion of gentle swaying in the breeze and surround-sound audio that included the chirping of birds and rustling of leaves. Since 2022, Meilahn's Primordial Shift exhibition has been touring the U.S. with stops at Bergstrom-Mahler Museum of Glass (Neenah, Wis.), The John P. McGovern Museum of Health & Medical Science (Houston, Texas), South Dakota Art Museum at South Dakota State University (Brookings, S.D.) and the Rochester Art Center (Rochester, Minn.) from June 1 through September 30, 2025. Primordial Shift is a work of art. But underlying Meilahn's aesthetic is an agnostic, if not ambivalent, philosophy concerning agronomy or the crop science and the application of that science by horticulturists to plant production for the enhancement and improvement of nature for human and animal life. In that sense, Primordial Shift, along with most of the artist's other installations, are not agents for or of change, but artworks that illuminate the pros and cons of genetic modification. States Meilahn: "With today's sophisticated technology and global positioning, a 24-row corn planter can plant 1,000 acres a day with laser accuracy, 35,000 plants per acre with placement exactly 6" apart, and 1 3⁄4" deep. The instant the seed hits the ground, germination begins. That germination is as primal as it gets. It's everywhere! Just look. The shift part is engineered; with results that are all so convenient. Is this shift good? You decide." Meilahn (b. 1945) grew up on a family farm near Pickett, in Central Wisconsin. After graduating in 1964 from high school in Ripon where he excelled in art, he entered the University of Wisconsin-River Falls to study agriculture. He subsequently switched his major to art, after he realized agri-business was not his passion. At UW River Falls he took his first course in glass, and in 1966 he started blowing glass. At this time, Harvey Littleton was running the studio glass program at UW Madison, made famous by a slew of glass graduates, the most famous being Dale Chihuly. As an undergraduate, Meilahn spent a quarter abroad working with glass legend Erwin Eisch in Frauenau, Germany, on the Bavaria/Czech border, an area with a rich tradition of glass making. After graduation in 1971, he spent a year in Bolivia as an idealistic Peace Corp volunteer intent on helping people in South America by sharing knowledge he'd learned from farming. Subsequently, he enrolled at Illinois State University, Normal, where Joel Philip Myers had begun a glass program and earned his Masters degree in art. Ultimately, Meilahn's roots drew him back to his family's farm in 1975 where he and his wife, Jane, raised their children, and where he alternately operated the family farm and the hot glass studio he built. In time, his passion for art and farming became one-in-the-same as a form of creative expression. Since 1996, when he turned 50 and began planting genetic seed, Meilahn's artwork has focused on genetic modification, which has symbiotically shaped his life and work, both as an artist and a farmer. His installations afford viewers the opportunity to view and contemplate the production of corn from the dual perspective of an artist who knows the subject from life. For the past 15 years or so, this convergence has been the basis for a number of important works. Meilahn served as the President of The Board of Directors of the Bergstrom-Mahler Museum of Glass in Neenah, Wisconsin. He has taught at Penland School of Craft in North Carolina and The Archie Bray Foundation in Montana. His work has been exhibited in the traveling museum exhibitions, Wisconsin's Glass Masters and Environmental Impact, produced by David J. Wagner, L.L.C., the annual Smithsonian Craft Show, and at The Corning Museum of Glass, which has also featured the artist's work in its New Glass Review for over four decades. Meilahn says: "An ear of corn is the point of convergence for my dual careers in farming and art. Corn is not a typical subject in art. But for me, the lines, rows, numbers, higher prices, lower prices, color spectrums, mapping, information technology, air masses, and species have all combined to have unwittingly become a catalyst for my art."

An abandoned, dilapidated swimming pool in the forest. A pile of trash smoldering in a secluded backyard. A dark and deserted highway flanked by an unexplained light. Michael Endo's kiln formed glass is about the potential of empty spaces and how people inhabit the subliminal area between the civilized world and wilderness. It begs the question: Is our world real or manufactured? Says Endo: "Locked in a loop of familiarity and strangeness, my gestural paintings, drawings, glasswork and sculptures exist in a moment of tension. By depicting the boundary between a wild space and the city, I present scenes where my interest in alternative communities, the relationship between space and psychology, occult knowledge, eschatology, ecology and the uncanny converge." To reveal and examine the experiences people tend to gloss over is Endo's primary aesthetic goal. He states: "Some people get turned off by what they perceive as a darkness to the work. But it doesn't bother me. They are entitled to their own opinion, and I don't consider it while I am making the work. I don't think the work is exclusively dark. People read that into it, but I am interested in exploring these marginal spaces and experiences and bringing them forward." Endo's work is currently on view in What Remains, the fourth exhibition at The Byre, a centuries-old stone barn turned into an exhibition space by Bullseye Projects in Caithness, the northern-most county in mainland Scotland. What Remains features site-specific installations and works by Celia Dowson, Katharine Dowson, Endo, and April Surgent that reflect on stories and experiences reconstructed from fleeting shadows in memory and the earthed-over remnants found in the landscape. The show will remain on view until March 2026. Born in Portland, Oregon, in 1979, Endo received an MFA in painting from Cranbrook Academy of Art, Michigan, in 2009 and a BA from Portland State University, Oregon, in 2005. His studio work has been included in national and international exhibitions at venues such as The National Glass Centre (Sunderland, UK), Disjecta (Portland, Oregon), Yuan Yuan Art Center (Jinan, China), and Bullseye Projects (Portland, Oregon and Mamaroneck, New York). Endo is currently the curatorial consultant at Bullseye Projects, organizing exhibitions at The Byre and assisting with traveling exhibitions and art fairs. In 2019, he moved to Yucca Valley, California, where he founded High Desert Observatory with his partner Emily Endo. Michael is currently the Artistic Director at Pilchuck Glass School. This year was "a banner year" for both interest in and enrollment at Pilchuck, says Endo, who sites the school's successful casting conference and upcoming design conference as high points. Enjoy this conversation with the artist about his studio practice and the balance he maintains between curation, administration, and studio as well as the role Pilchuck plays in glass education around the world.

Chaiah (pronounced 'Kaya') Sullivan has been impressing the glass world and Instagram followers with his beautiful and intricate cactus-inspired functional glass to the tune of a 94K following and growing. He came upon the cactus after a friend mistakenly referred to another plant pipe he had created as a cactus and decided to give making a realistic cactus pipe a try. "I never really expected to be the cactus guy," Sullivan says. Growing up in Paonia, a small town on the Western Slope of Colorado, Sullivan first discovered flameworking in 2005 at age 14. Two years later, he started working as an assistant at a local hotshop, North Rim Glass LLC. He practiced as a hobbyist while finishing high school, then put all his focus into glass. In 2010, he attended Penland School of Crafts, located in the Blue Ridge Mountains of North Carolina. There he studied with Janis Miltenberger, a Washington-based artist who works with borosilicate glass to create large-scale narrative sculpture. Like Sullivan, much of Miltenberger's glass art is inspired by botanical elements found in nature such as leaves and flowers. In 2013, Sullivan took a series of collaborative classes at Glasscraft in Golden, Colorado, where he had the chance to learn from artists such as Salt and Robert Mickelsen, from whom he learned the hollow sculpting technique he uses today. Says Sullivan: "The inside of my pieces have the same contour as the outside. I put all my ridges in and then along each ridge I add dots; once those are all melted in, I pluck each spike out individually. Sometimes I do get a little sick of plucking thousands of spikes over and over and over again. But once you see all your work come to fruition, it makes it all worth it. There's something about making it functional on top of it being a beautiful art piece that really pushes me." After learning many different styles and techniques, Sullivan explored and experimented to develop his own style of work under the name Unparalleled Glass. He was awarded Dr. Dabber Glass Masters 1st Place in 2023; the Puffco Glass Open 1st Place in 2022; and Champs' Emerging Artist 1st Place in May 2017. Enjoy this conversation about the progression of Sullivan's cactus designs, the device attachments he's been developing and his recently released foot pedals and oxygen systems. He also discusses recent lighting and installation pieces as well as some fun projects in the works.

Author and architectural glass artist Robert Sowers wrote that lead should be considered a design element and not just a matrix to hold stained glass. That idea spoke to Richard Prigg, who has developed a body of work that celebrates lead and solder as much as it does breathtakingly beautiful glass. Though historically stained glass windows conveyed the teachings of the church, Prigg's work intentionally tells no stories, but rather impacts the viewer by combining more expressive lead work with various light-modulating elements of and beyond the window itself. States Prigg: "I have an aversion to storytelling. I feel that it can often move the viewer away from the work so that instead of observing and considering what is in front of them, they fly off to the never-never land where the story takes them. Of course, I recognize that storytelling is an integral part of being human. We tell stories to one another to help define our identities. The stories in our culture give us a we that can guide our ways of living. But there is a dark side of storytelling, and it is intrinsic to the spoken word. It is our human tendency to use story to deceive. So, I am distrustful of art with a story, because a story can be a lie. I am distrustful of religion with a story, too. Religion and art – they are such good friends." A graduate of the Pennsylvania Academy of Fine Arts, Prigg started his career at Beyer Stained Glass, Philadelphia, Pennsylvania. He later joined Willet Hauser Architectural Glass, the largest stained glass studio in the US, where he served as General Manager from 1999 to 2011. There, he oversaw challenging projects such as restoration of the Alcuin and Charlemagne and The Death of Sir Philip Sidney windows, which included re-creating missing plates for areas of the windows where the glass had chemically decomposed. He also oversaw the creation of $3.5 million of gothic stained glass fabricated by Willet Hauser for St. Martin's Episcopal Church in Houston. It was huge job that took 2.5 years to finish. Says Prigg: "I worked closely with Crosby Willet, who was incredibly generous to me and taught me a lot about stained glass. He introduced me to everyone in the business more or less. That included Charlie Lawrence who became a mentor and friend as well." In December of 1999, Prigg left Willet Hauser and opened Sycamore Studios with his wife Ellen Lustgarten, where in addition to repair, restoration and new work, he developed a unique body of personal work featuring mouthblown antique sheet glass in conjunction with calligraphic lead lines built up with lead came. These works include Spin for a Western Light and Two Circles and a Dot. Later, he began to explore concrete as a matrix, resulting in works such as Blue Moon, Tossed and his recent Tower series. Prigg also uses his Lansdowne studio to showcase the work of young artists who often can't get into galleries. Prigg is a member of the Stained Glass Association of America and has served on the board of directors of the American Glass Guild (AGG). He is the recipient of two AGG AGNX Awards for Excellence in the Art of Stained Glass. In 2025, he presented From Artist To Artisan To Artist: How I Painted Myself Into a Corner and Escaped through a Stained Glass Window at the AGG conference. Recent exhibitions of his work include: 2025 at the AGG AGNX Show, Mesa Contemporary Art Museum, Mesa, Arizona; 2025, Juried Show: Vibrance at the Aston Mills Art Center, Aston PA; and the 2023 Juried Show: 100 Skulls, Aston Mills Arts Center. His work can be found in private collections in Philadelphia as well as at the Center for Emerging Visual Artists. Says Prigg, about goals for his personal work: "When I began working with glass, I was so in love with these materials – lead and glass – that I just wanted to find ways to show people what delighted me. I wanted people to be presented with these materials in a way so that they would be engaged in the textures, the colors, the voices of the materials."

Beth Lipman is an American artist whose sculptural practice generates from the Still Life genre, symbolically representing the splendor and excess of the Anthropocene and the stratigraphic layer humanity will leave on earth. Assemblages of inanimate objects and domestic interiors, inspired by private spaces and public collections, propose portraits of individuals, institutions, and societies. Through works in glass, wood, metal, photography, and video, Lipman presents a meditation on our relationship to Deep Time, a monumental time scale based on geologic events that minimizes human lives. Each installation is a reimagining of history, created by placing cycles often separated by millenia in proximity, from the ancient botanical to the cultural. The incorporation of prehistoric flora alludes to the impermanence of the present and the persistence of life. The ephemera of the Anthropocene becomes a symbol of fragility as the human species is placed on a continuum where time eradicates hierarchy. Lipman has exhibited her work internationally at such institutions as the Ringling Museum of Art (FL), ICA/MECA (ME), RISD Museum (RI), Milwaukee Art Museum (WI), Gustavsbergs Konsthall(Sweden) and the Renwick Gallery of the Smithsonian American Art Museum (DC). Her work has been acquired by numerous museums including the North Carolina Museum of Art, Brooklyn Museum of Art (NY), Kemper Museum for Contemporary Art (MO), Smithsonian American Art Museum (DC), Jewish Museum (NY), Norton Museum of Art, (FL), and the Corning Museum of Glass (NY). Lipman has received numerous awards including a USA Berman Bloch Fellowship, Pollock Krasner Grant, Virginia Groot Foundation Grant, and a Louis Comfort Tiffany Foundation Grant. She has been an Artist in Residence at the Alturas Foundation, the John Michael Kohler Arts Center's Arts/Industry Program, and the Smithsonian Artist Research Fellowship. Recent works include Living History, a large-scale site-specific commission for the Wichita Art Museum (KS) that investigates the nature of time and place and Belonging(s), a sculptural response to the life of Abigail Levy Franks for the Crystal Bridges Museum of American Art (AR). Lipman's work is on view now in three independent installations including: Hive Mind at Iowa State University, Ames, Iowa; ReGift at the Toledo Museum of Art (TMA), Toledo, Ohio; and the permanent installation One's-Self I Sing at theMuskegon Museum of Art (MMA), Muskegon, Michigan. To celebrate the official unveiling of One's-Self I Sing, the MMA is hosting an Artist Talk and Unveiling Reception this Thursday, July 17 at 7 p.m. The event is open to the public and free to attend. Find out more at www.muskegonartmuseum.org Suspended in the museum's central atrium, the sculpture explores the interconnectedness of time, culture, and nature through materials such as glass, wood, metal and gypsum. Measuring approximately 240 x 120 x 60 inches, One's-Self I Sing functions as an "exploded" still life – an expansive, suspended constellation of objects that invites viewers to reflect on humanity's place within Deep Time and the Anthropocene. Says Lipman: "The marriage of transparent and opaque forms alludes to what is seen and known juxtaposed with what is concealed and lost over time." The sculpture spans both floors of the museum, encouraging viewers to encounter it from multiple vantage points. Braided suspension cables carry the piece vertically through space, suggesting both ascent and descent, growth and entropy. Lipman incorporates subtle visual references to the Muskegon Museum of Art's permanent collection, binding the sculpture to the museum's history while extending its meaning outward across time. "One's Self I Sing is a showstopping first impression when visitors walk into the museum," says Kirk Hallman, Executive Director of the Muskegon Museum of Art. "It's a powerful and visually stunning complement to the museum's new Bennett Schmidt Pavilion and a bold reflection of the MMA's ongoing commitment to celebrating women artists." Enjoy this conversation with Lipman about current installations, artistic motivations and the behind the scenes challenges of creating site-specific work that communicates to viewers.

An American born artist dedicated to developing new techniques of glass working, Joshua Hershman combines optical physics with the fluidity of glass to make his contemporary sculpture. By harnessing light though hand-polished lenses, he employs unique methods of casting, coldworking, and photography in his boundary pushing work. Hershman states: "My work offers meditations on the complexities within the concept of photography and the repercussions of the camera's impact on culture. The incredibly creative and destructive nature of photography is both inspiring and alarming to me. It has helped bring our global society closer together but also driven us desperately apart. It can teach us or deceive us, show us the furthest reaches of space, or the closest representations of matter itself. It is these contrasting realities that exist within photography, which inspire my works of contemporary art." Being born with no peripheral vision or depth perception, decades of vision therapy led Hershman to his lifelong fascination with the complex nature of the visual system and the science of light and optics. By using cameras themselves as frames for his experimental photographic processes, he asks us to look more closely into the simple act of taking a photograph. His work focuses on the significance that film and photography have played on the development of contemporary global culture. More recently Hershman's work has focused on the torus — the most common shape found in galaxy formations and human cellular biology. His series, Messier Objects, was named after the French astronomer Charles Messier, who famously catalogued anomalous objects that confused his search for comets in the night sky. Originally from Colorado, Hershman was born in 1981 and first began working with glass at the age of 17. In 2004, he graduated from the Craft and Design Program at Sheridan College in Ontario, Canada. In 2008, he went on to earn a BFA with Distinction from the California College of the Arts in Oakland, California. Most recently, he completed the Master's program at the New York State College of Ceramics at Alfred University in Sculptural/Dimensional Studies. In 2009, Hershman had his first solo exhibition at Pismo Glass in Denver and went on to participate in many group exhibitions and art fairs including Sofa Chicago, the Armory Show, Art Hamptons, SF Art Market, the Habatat Invitational, and many others. He loves to teach and has led workshops and lectures at California College of the Arts, Public Glass in San Francisco, Pittsburgh Glass Center, and at D&L Glass Supply in Denver. Hershman has received numerous awards, was included in the Bullseye Emerge international glass competition, Young Glass 2017, and can be found in numerous private collections. His work is included in the permanent collection of the Ebeltoft Museum in Denmark, The National Liberty Museum in Philadelphia, and Museum of Glass, Tacoma (MOG). In fact, MOG exhibited Hershman's sculpture in the nation's first LGBTQ+ glass exhibition titled Transparency. He has been invited to participate in several artist-in-residence programs including North Lands Creative Glass in Scotland, D&L Art Glass in Colorado, the Appalachian Center for Craft in Tennessee, and most recently completed a semester-long residency at Southern Illinois University at Carbondale. The artist worked for Berengo studio in Murano, Italy, where he made work for the world's leading contemporary artists. Living and operating a private studio in Los Angeles, California, Hershman makes his personal work and also operates the Glass Foundry, which provides casting and coldworking services to other artists. Additionally, he is employed at Judson Studios, where he's currently working on a large-scale architectural glass project for James Jean. "Casting glass was something I could do in isolation in my studio which was a huge advantage during the pandemic. Without the need for a furnace or lots of facilities, this process allowed me to make a highly challenging sculpture without the need for a team of assistants or expensive equipment. I think what draws me most to lost wax casting is the constant challenge and problem solving that is required to get a high-quality casting."

At the heart of Dylan Martinez's work lies the striking H2O/SiO2 series, inspired by the artistic tradition of Trompe L'œil—the technique that deceives the eye into perceiving three-dimensional objects on a flat surface. Each sculpture is meticulously hot-sculpted and hand-molded by Martinez, capturing the fluid movement of rising bubbles and the delicate form of what appears, at first glance, to be bags of water. These pieces transcend objecthood; they are immersive experiences that invite stillness, inspection, and recalibration of the senses. Martinez reflects, "Our vision has the greatest effect on our understanding of the world. Through my artwork, I create scenarios where viewers must question their ability to navigate between reality and illusion." Blending classical craftsmanship with contemporary conceptual inquiry, Martinez uses glass as both material and metaphor. His work explores how perception constructs truth—how desire and expectation often override what is actually seen. In his latest series, Martinez introduces vibrant color for the first time in years, signaling a shift influenced by pop art. Sculpted forms inspired by Pac-Man ghosts and hyperrealistic water balloons appear light, buoyant, and playful, yet reveal an intense precision beneath their surface charm. Also central to this new body of work is a group of hard-edged, geometric sculptures rooted in optical art. These pieces employ sharp lines, layered transparency, and refraction to produce illusions of shifting depth, bending geometry, and visual vibration. As viewers move around them, the forms seem to flicker, realign, or dissolve—forcing perception into motion. These optical works expand Martinez's inquiry into the unstable boundary between what is there and what is seen. Born in Stillwater, Minnesota, Martinez earned his degree in science from the University of Wisconsin–River Falls in 2008. It was during his junior year, upon visiting the university's glassblowing studio, that he discovered a profound connection to glass—drawn to how the material responded to physical forces he had studied in physics, chemistry, and geology. He recalls, "I tried it out, and it really resonated with me—in the way you move the material and how it reacts to heat and physical forces." He later earned his MFA from Ball State University in 2017. Martinez honed his craft through an apprenticeship with Sam Stang at Augusta Glass Studio (2010–2012), evolving from functional glassware and vases into sculptural and installation-based work. He currently lives and works in his studio in Bingen, Washington. Martinez's work has earned global acclaim, appearing in public and private collections worldwide. International publications such as Elle Decoration (UK, NL, Germany), American Craft Magazine, Interior Design Magazine, and Aesthetica have celebrated his contributions to contemporary glass. His accolades include the Enrico Bersellini Award (Miano Vetro, Milan, 2018), the Stanislav Libensky Award (Prague, 2017), full scholarships to Pilchuck Glass School and Pittsburgh Glass Center (2017), and numerous Best in Show and Juror Awards. In 2021, he received Best in Show, OP ART/Glass, from the Imagine Museum in St. Petersburg, FL. In 2025, Martinez's work will be featured in More Than Meets the Eye at Belger Arts, Kansas City, MO (June 6 – September 6), as well as in a solo exhibition titled, Glass Reimagined, at Square One Gallery, St. Louis, MO (June 6 – August 1). Through a fusion of light, form, and material truth, Martinez's sculptures prompt a quiet confrontation with the limits of perception. As he states of his waterbag series, "The trapped movement of rising bubbles and the gesture of the forms convince the eye that the sculptures are exactly as they appear. What fascinates me is how our desires often override our true perception, leading us to believe what we see as the absolute truth."

One of the most followed stained glass artists on social media, Meggy Wilm of Colorado Glass Works, Boulder, Colorado, shares her creations with nearly 275K (and growing) followers on Instagram – attracting a new audience of young enthusiasts to the medieval craft. Wilm and her husband Dustin Mayfield also recently purchased Boulder-based D&L Art Glass Supply from Leslie Silverman, who dedicated 50 years to the company she founded. Experienced entrepreneurs, Wilm and Mayfield have a deep appreciation for the art glass industry and a forward-thinking vision for D&L. Her first company, Colorado Glass Works is a multifaceted art glass business where Wilm teaches a variety of classes, sells and ships sheet glass around the world, designs her own custom sheet glass, and creates small and large commissions for private clients. She has been creating stained art glass for the last seven years and has a deep love of all things nature- and glass-related. States Wilm: "I founded Colorado Glass Works in the fall of 2017 sitting criss-crossed on my living room floor in Denver, Colorado. My passion is creating dreamy and colorful stained glass art pieces ranging from mini sun-catchers to fully installable windows. I imagine, custom design, and hand-make every single one of my pieces with attention to every little detail." Beginning on January 1, 2020, Wilm made a commitment to donate a percentage of her glass profits amongst her five favorite environmental organizations – The Sierra Club, The Marine Conservation Institute, the Rainforest Action Network, Defenders of Wildlife, and The Environmental Defense Fund. In 2024, through purchases of Wilm's art, she raised $10,000 and donated those funds to help protect our planet. Each of her chosen nonprofit organizations received $2,000 to continue their efforts. Raising larger amounts each year, in 2024 Wilm was able to expand on her altruistic goals and donate stained glass art supplies, classes, and glass to schools in need. Eight deserving schools across the United States received full beginner stained glass startup kits to introduce stained glass as an elective or after-school activity. These kits included tools, classes, and materials valued at over $10,000, giving students the opportunity to explore stained glass. Wilm says: "Together, we made a total of $20,678 in donations to causes that truly matter. None of this would have been possible without you. Thank you for being part of this journey. I am so thrilled we get to work together in making a small impact to help protect this beautiful world we live in." In addition to running Colorado Glass Works, and taking the wheel at D&L, Wilm will be a TA for Ted Ellison at Pilchuck from May 22 – 29, 2025. Keep your eye on social media for more of the artist's beautiful Colorado landscapes, sparkling snowflakes and signature textured or dichroic Monstera leaves.