Glass Art Association of Canada RSS feed of the Glass Art Association of Canada, featuring the latest programs and events. en March Member Interview - Michelle Lewin Thu, 06 Apr 2017 12:56:49 -0400 March Member Interview - Michelle Lewin  

Interview by Diana Fox 

For the full interview click here.

For more information on Michelle Lewin and her work, please visit her GAAC artist profile or her website.


GAAC: What was it that drew you to glass as your material of choice?

Michelle Lewin: I was originally all set to be a sculptor, until for better or worse I got derailed by glass. …I was finishing a BFA in sculpture at Concordia University and saw a poster on one of the bulletin boards at the school for glassblowing workshops at the Haystack Mountain School of Crafts in Maine. I remember looking at it and thinking, I'm going to try that. So I did – and from the moment I first tried it the material clicked with me. And ironically people wanted to buy all the blobby vessels I was making while I was there, so I had the delusion that maybe I could make and sell glass things to finance the sculpture I wanted to make (haha!). Anyways, from there I went to study glass at the Appalachian Center for Crafts in Tennessee and on it went.

]]> Programs/id/958 Programs/id/958
February Member Interview - Leah Kudel Fri, 10 Mar 2017 14:49:31 -0500 February Member Interview - Leah Kudel 

Interview by Diana Fox 


For the full interview click here.


GAAC: What was it that drew you to glass as your artistic material of choice? Leah Kudel: I’ve always loved sports and fire. As a kid I used to burn stir sticks from McDonald’s and fling the flaming plastic. So when I tried glassblowing for the first time it was a dream: art and fire blending together. I’m a kinaesthetic learner and glassblowing has allowed me to learn in a way that I am comfortable with.  

GAAC: What are you working towards for the future of your career, and how do you see yourself getting there? LK: Some of my artwork has recently been accepted into the exhibition “Young Glass 2017” at Glasmuseet Ebeltoft in Denmark. This exhibition only happens every 10 years and is intended to promote glass artists under 35 from across the world. So recently, I’ve been seeking funding and grants to help ship two very large pieces of glass across the Atlantic Ocean! I also have a dream of one day opening a small sustainable and energy efficient hotshop. As glass artists, I think it is time for us to start thinking more about the way we use our resources. With new building processes and materials being invented every year, I believe there is room for new innovations in glass making equipment.
For more information on Leah Kudel and her work, please visit her website
You can donate to Leah’s Go Fund Me here.  


]]> Programs/id/957 Programs/id/957
2017 GAAC Conference Mon, 27 Feb 2017 12:54:44 -0500  

It is my pleasure to announce that we are hosting a glass conference for our members May 25th-27th at Sheridan College. The information will be coming fast and furiously so keep an eye on the Facebook page and the official conference website

It's time to Re:Do what we do and how we do it. Time to rethink what you know about the material and its makers. Time to be reinspired by glass and what can be done with it. Time to reconnect with you friends and community. Join us for: 
Re: Do
re:think, re:inspire and re:connect
GAAC Conference 2017

Discover & learn during the demonstrations, lectures, panel discussions. Buy from vendors at the technical display, the silent auctions, and the member’s exhibit. Have your voice heard at GAAC's AGM and be part of the discussion on GAAC's future.

J'ai le grand plaisir de vous annoncer que nous organisons un congrès d'art verrier pour nos membres du 25 au 27 mai au Collège Sheridan. Comme les détails seront dévoilés de toute vitesse, consultez notre page Facebook ainsi que notre site officiel:


 C'est le temps de Ré-inventer ce que nous faisons et comment nous le faisons. Le temps de réfléchir sur ce que nous savons de la matière et de ses artisans. Le temps de se laisser ré-inspiré par le verre et tout ce qu'on peut en créer. Le temps de se rejoindre à ses amis et à sa communauté. Soyez des nôtres pour:
Le congrès de la GAAC 2017
on vas Re: Faire, 
re:penser, re:créer, et re:lier!

Venez découvrir et apprendre lors des démonstrations, présentations et de discussions de panneau. Venez acheter de vendeurs à la kiosque de produits techniques, aux enchères et à l'exposition des membres. Faites-vous entendre en prenant part à la discussion lords de La Réunion annuelle de la GAAC.
]]> Programs/id/956 Programs/id/956
January Member Interview - France Grice Fri, 10 Feb 2017 12:20:18 -0500 January Member Interview - France Grice 


For the full interview click here.


GAAC: What was it that drew you to glass as your artistic material of choice? France Grice: A friend in Nancy, France’s mecca of early century 20th century pâte de verre, was doing fused glass since the 80’s. She was using mostly float glass and doing beautiful pieces using frit, thermoforming and sandblasting. I was hooked! In the early 90’s it was evident that Ottawa did not have the teaching capacity as it has now. I set up to learn on my own and, of course, a kiln was purchased. I bought books and did fused glass for a few years. Experimenting, failing, succeeding and with a kiln which had no programming, it was a big challenge. 

]]> Programs/id/955 Programs/id/955
Glassblowing, Design and Sculpture with Philip Baldwin Tue, 31 Jan 2017 07:57:09 -0500 Espace Verre

Montréal, January 23, 2017
To all professional glass artists,
Object: 2017 Workshop with Philip Baldwin

We are pleased to announce an upcoming workshop in March 2017:
American-born glassblower and designer Philip Baldwin resides in the Welsh countryside since 2015.
For over 35 years, he and his partner Monica Guggisberg have worked with some of the most
important glass studios such as Nouvel Studio, Best & Lloyd, Rosenthal Glas & Porzellan Ag, Steuben
Glass and Venini. Furthermore, their sculptural works have won countless awards in Europe and the
United States, have been collected by more than thirty Museums and have been featured in over 165
exhibitions, including their most recent show The Cathedral Collection in Edinburgh, Scotland.
Some links of interest featuring their work:
This workshop will be offered from March 13 to 17, 2017, between 9 a.m. and 5 p.m., with an hour
break for lunch.
Registration and material fees are $1,100.
The deadline to register for this workshop is Wednesday, March 1, 2017, at 5 p.m.
Please note that until February 15, 2017, this workshop is offered in priority to Quebec glass artists.
As of February 16, 2017, any available places will be offered to professional glass artists from outside
of the province until March 1, 2017, the deadline to confirm the workshop with the required minimum
of 7 participants.
We will confirm the registration of up to 8 participants according to the order of the arrival of the
registration forms accompanied by the required payment.

]]> Announcements/id/954 Announcements/id/954
FLO is hiring Tue, 31 Jan 2017 07:24:07 -0500 OPPORTUNITY DEVELOPMENT

Start Date: As early as April 2017, latest start date required by September 2017.
Full-Time and Part-Time positions available.
Flo Glassblowing seeks to hire 2 to 3 new employees in its hotshop and torch studio for
the purposes of both teaching and production work up to 4 to 5 days a week.
The studio, located in downtown Ottawa, is in its 6th year of business and is busier than
ever. As a community studio space, we are committed to educating the public and offer
a wide range of beginner and ‘no-experience necessary’ classes, which fill our schedule
many days of the week; including evenings and weekends. We also teach fundamental
courses where a number of beginner students have begun to work independently as
renters and advanced classes are building in popularity as our community grows.
Production and commission work are made during weekday hours. Our front glass
gallery features a variety of Canadian glass artists and any teacher on staff is eligible to
place their work in the gallery.

See attached PDF for more details. 

]]> Announcements/id/953 Announcements/id/953
2016 Member Interview Year in Review Mon, 09 Jan 2017 04:51:36 -0500 This year has been one of ups and downs, but now that it is finally coming to a close, we thought it would be a nice time to reflect on some of our interviews from the past year.


For the full article click here.

]]> Programs/id/952 Programs/id/952
Institute of Glass ArtToyama is accepting applications Wed, 21 Dec 2016 12:08:14 -0500 Institute of Glass ArtToyama is accepting applications for the position of Associate Professor of Hot Work.

Please see the PDF for application details. 

]]> Announcements/id/951 Announcements/id/951
Pilchuck Scholarship 2017 Thu, 22 Dec 2016 09:53:34 -0500

2017 GAAC Pilchuck Scholarship

The Glass Art Association of Canada will award one GAAC member a half tuition scholarship to attend a Pilchuck workshop of the recipient’s choosing in the summer of 2017.  GAAC's Pilchuck scholarship funds will cover half of the total fees (program fee + utility fee) for the selected artist, which covers everything except travel and any extra supplies needed. Winning the GAAC Pilchuck award does not exclude the recipient from applying for other Pilchuck scholarships. A preview is available Pilchuck's website. The full catalog will be posted later in December.   

How to apply

We will only be accepting electronic submissions. Please send the following items as attachments, in one email to with the subject line reading "2017 Pilchuck Scholarship"
Submissions are due by 11:59pm on December30th, 2016

New extended deadline! January 6th, 2017 by 11:59pm

Submission Requirements:

In one PDF document with the following four (4) pieces of information: 
1)    Your name and contact information (email address, mailing address and telephone number). 
2)    A short explanation (max. 500 words) of why you want to take the class and how you think it will help you and your work. 
3)    An image list including the Image #, Title, Date, Materials and Dimensions for each image in your application. 
4)    The name of the class you want to take (session #, course name and instructor name)

Attach to your email: Three to five images of your recent work (save images as 72 dpi jpegs and 640 pixels in the widest dimension). File names should be as follows: Image_ and #, example Image_1.jpeg 

Submissions are due before 11:59pm on December30th, 2016

]]> and Awards/id/950 and Awards/id/950
November Member Interview - Alva Gallagher Tue, 06 Dec 2016 11:26:38 -0500 November Member Interview - Alva Gallagher


For the full interview click here.

GAAC: What was it that drew you to glass as your artistic material of choice? Alva Gallagher: Initially the glow of the furnace and that mesmerizing fluidity of the material grabbed my attention. I’ve always been drawn to materials that are that little bit more complicated and working with glass certainly is never dull and a constantly evolving challenge. I work with it for its unique manipulative qualities while molten and beauty and elegance of both transparency and opacity in its solid state.   

]]> Programs/id/949 Programs/id/949
October Member Interview Retrospective Wed, 09 Nov 2016 07:33:11 -0500 October Member Interview Retrospective

For the full article and images click here. 

2016 has been a difficult year for many, with struggles and challenges in abundance. As we complete our sixth full year of member interviews, we felt this would be a good time to reflect on how some of our members deal with the struggles and challenges they face. This is how some of our members responded to the question, “What have you found to be the biggest ongoing challenge in your career as a glass artist, and how do you strive to overcome that?”

]]> Programs/id/948 Programs/id/948
September Member Interview - Jamie Gray Wed, 09 Nov 2016 07:34:20 -0500 September Member Interview - Jamie Gray

For the full article and images click here. 
Jamie Gray was previously interviewed for GAAC in July 2011, and was kind of enough to sit down with us for a follow up interview. This interview has been edited for clarity and length.
GAAC: We previously spoke in July 2011. At the time you identified a few career goals and aspirations, mainly that you hoped to complete a masters degree in order to teach. Where does this stand? Jamie Gray: I have completed my masters now, and I’m glad to have done it. I would still like to teach, but right now I feel like I need to regroup myself. And I will teach whether it's in a formal setting or my own studio or other studios because I enjoy that very much. To me that’s extremely fulfilling - to share knowledge. And in sharing knowledge.. the huge benefit to me is what students get that they express new interest in. That they get new ideas from what you’re teaching and those new ideas become open to the room and everyone gets to share in that. So I think there’s huge advantage to teaching, even small groups but groups of some sort. So I do still want to teach.
]]> Programs/id/947 Programs/id/947
August Member Interview - Montserrat Duran Muntadas Sun, 11 Sep 2016 13:10:03 -0400 For the full article and images click here


GAAC: What was it that drew you to glass as your artistic material of choice? Montserrat Duran Muntadas: When I was a teenager, I saw a girl blowing glass in a (very "B") movie. It was the first time that I saw something like this, and I instantly knew I would do it in my life. A kind of love story. I now work with blown and lampworked glass on most of my creations. 

]]> Programs/id/946 Programs/id/946
July Member Interview - Gabriela Wilson Sun, 14 Aug 2016 13:56:11 -0400

For the full interview click here.

GAAC: What was it that drew you to glass as your artistic material of choice? Gabriela Wilson: I first started my career in jewelry and gemology. Studying jewelry I eventually came across glass; flameworking beads and enameling on copper. Sitting at a jeweler’s bench, you get accustomed to sitting in front of a flame and working with fire, I even got to melt my own metal and cast my husband’s wedding band. I knew glass was the next step in the progression of my body of work. Really a medium that I have always been attracted to, and one that would allow me to work on a larger scale comparatively to jewelry. It’s such a versatile medium that the exploration and applications seem endless and very alluring, and of course the fun of adding fire! 

]]> Programs/id/944 Programs/id/944
Glen Williams Glass 20th Anniversary Celebration Sun, 14 Aug 2016 12:07:45 -0400 Glen Williams Glass Art Collective Celebrates 20 Years!

On September 17th & 18th Glen Williams Glass will be hosting their 20th anniversary celebration, with live music, refreshments and fun for the whole family.  Check out their website for more details.  

]]> Announcements/id/943 Announcements/id/943
Glen Williams Glass is looking for a new member Sun, 14 Aug 2016 11:45:27 -0400 Glen Williams Glass is looking for a new member, Georgetown ON - Contact Julia Hillyer for more details,  289-775-0254


]]> Announcements/id/942 Announcements/id/942
nanopod: Hybrid Studio Rental Space Sun, 14 Aug 2016 11:42:11 -0400
nanopod: Hybrid Studio is an art studio and shared workspace. The Studio/Storefront is located between Little Italy and Koreatown next to Bickford Park.  
Over the past decade on Harbord Street we have developed an affordable rental space that maintains a friendly and inspiring atmosphere where metal, glass and multidisciplinary artists can work on their creative endeavours.
Sharing the studio is $220/month  ($1100 down for 1st 5 months) and with this comes 24/7 access to the space and its facilities, which include a worktable, 2 jeweller's benches, flexshafts, glass & ceramic kilns, torches, shelving, wet tile saw, etc. 
For the entire workspace, the cost is $4500 for 5 months (emptied of equipment).
Studio share/rent ncludes HST and utilities.
Use the space as a pop up for the upcoming holidays, December 1-31 = $900 
1st come, first served.
Email to set up a time to visit, discuss etc

]]> Announcements/id/941 Announcements/id/941
June Member Interview - Jenny Judge Fri, 01 Jul 2016 14:39:55 -0400 For the full interview click here.

GAAC: What was it that drew you to glass as your artistic material of choice? Jenny Judge: I was first introduced to glass when our family moved to New Zealand for a couple of years in 2004. I wanted to learn something new while I was on this overseas experience and decided to explore glass- little did I know I was entering the world of kiln-cast glass in a country rich with glass artists and readily available lead crystal by Gaffer Glass. On the first day of the introductory class our instructor said “I have to warn you before you start, glass can be a very seductive and an addictive medium.”   

]]> Programs/id/940 Programs/id/940
Open mold - kiln & slug casting glass with Sallie Portnoy Sun, 05 Jun 2016 13:28:16 -0400 STUDY GLASS IN ISTANBUL, TURKEY!
AUGUST 2 - 13, 2016
Session 3 (2 Week Intensive)

"Please join us at The Glass Furnace, Turkey’s first school dedicated only to glass.
The Glass Furnace is located 25 km. from Istanbul, in the countryside near the Black Sea. The
school features a large hot shop, flame working, fusing and cold glass studios. Students will enjoy
a nice dormitory, lounge area, cafeteria, river-side deck, and swimming pool (nice to have in
August)! Situated where Europe meets Asia, Istanbul is a friendly, modern city with a tremendous
amount of history! It will be my 2nd time teaching in this amazing place, one of the most
interesting in Europe! The 1st time being the very 1st year it opened - so I am very excited to see
how it has grown & developed!
The Workshop -Moldmaking Magic
This is a unique opportunity to study with the ubiquitous and independent Australian artist Sallie
Portnoy. Come on an intensive journey into the possibilities of kiln cast glass – taking home a
wealth of knowledge & inspiration. Harnessing our creativity by the immediacy of making bold
open molds from clay positives, Sallie will demystify the casting process, challenging students to
work around the limitations imposed by the practice. Students will also have the opportunity to
work in teams at the furnace to slug cast glass into molds off the punty. Options for both colour &
metal inclusions & distinctive surface finishes will also be offered. Technical projects will be
supplemented with discussions on basic sculptural design theory." 

For more information see the PDF file or check out Sallie's website

Warm Glass Studio Space to Share Sun, 05 Jun 2016 13:07:44 -0400
Two benches available for rent in warm glass studio, 1000 sq ft foot space in Thedford, Ontario. Main floor location is bright and clean with four north facing windows.
Two programmable kilns, wet band saw, wet belt sander, grinder, cutting table. Kilns located in separate room with wash-up areas. The space includes small gallery space to sell and show your work. Thedford is a tiny and quirky town and has a hardware store, post office, beer store, LCBO and a fry shack. Only ten minutes to Lake Huron beaches, 20 minutes from Grand Bend, 40 minutes from Sarnia and London. 
$400 per month includes kiln use, cold finishing equipment, bench and storage space, utilities, wireless and base hydro. 
24 hour access.
References required.
Studio 109

]]> Announcements/id/938 Announcements/id/938
May Member Interview - Nicole Lortie Sun, 05 Jun 2016 12:18:09 -0400 For the full interview click here.

GAAC: What was it that drew you to glass as your artistic material of choice? Nicole Lortie: I became interested in stained glass in the early 80's at the start of the popular wave. I then worked alongside my brother Bernard in his stained glass shop in Montréal where I taught beginner and advanced courses, designed, created and repaired stained glass. I was attracted to the colours of the glass, its luminosity, the play between transparency and opacity. I was dazzled by the effect of the glass reflected all around when light passed through it. And I was fascinated by the lines that must respect, up to a point I constantly strive to surpass, the limits imposed by the medium.

]]> Programs/id/937 Programs/id/937
April Member Interview - Stephen Pon Fri, 29 Apr 2016 11:35:00 -0400 For the full interview click here. 


GAAC: What was it that drew you to glass as your artistic material of choice? Stephen Pon: I worked with glass since I was 15 years old, first I was attracted by glass blowing and then I discovered kiln cast glass and the lost wax technique and I chose to work with both. Unique pieces that are known as my vessel in blown glass with little men in it.  

]]> Programs/id/936 Programs/id/936
Rita Newman Workshop Mon, 25 Apr 2016 15:53:55 -0400

Award Winning visiting artist from Argentina, Rita Neumann will teach how to fabricate lace and embroidery by translating textiles into glass art.
Students will... create two finished pieces; one flat and one with billowing volume by combining different techniques using sheets of glass, powders and frits: modeling with clay, relief, intaglio and pate de verre. Coldworking techniques will be explored to continue the creative design process. Rita will also provide guideline firing schedules and suggest starting points for larger projects.
Learn about the artist. Visit

Class will be held at Marcela Rosemberg Glass Studio in Cobourg, Ontario
includes glass, tuition, studio hire and light lunch
50% deposit to secure placement
*Remaining balance due May 14, 2016
For more information and registration: or 905 269 0204
June 14-17, 2016 | CAD $650

]]> Programs/id/935 Programs/id/935
March Member Interview - Ben Goodman Mon, 25 Apr 2016 15:37:57 -0400 For the full interview click here. 

2016 has been a tough year for the Canadian glass community, as we have suffered the loss of some of our finest talents and mentors. Among those who have departed is Ben Goodman (May 17, 1938 – Feb 15, 2016), a founding member and former president of GAAC. In August 2013 Ben was kind enough to be interviewed for us - to honor his memory we are re-posting his interview. We thank him for all he contributed to the Canadian glass community throughout his life - he will be dearly missed.

]]> Programs/id/934 Programs/id/934
2016 Fusion Conference Mon, 25 Apr 2016 15:28:41 -0400 Tickets are still available for this year's FUSION conference. Please join us for an inspirational weekend of hands-on workshops and presentations delivered by five Korean Master Potters from Icheon City, South Korea.

For more information about the presenters, workshops,conference schedule and to register, visit:

Dinner tickets for the first seating of the Saturday night Korean meal can still be purchased through the FUSION
office at (416) 438-8946.
Accommodations can be booked until May 3 through the Chestnut Centre Residence.
Call the Residence directly at 416-977-0707 Extension 0 or email


Okotoks Art Gallery 2017 Exhibition Program Mon, 25 Apr 2016 15:10:54 -0400 SUBMISSION GUIDELINES | 2017 SEASON 

Artists and curators are invited to submit proposals for the Okotoks Art Gallery 2017 Exhibition Program.  Submissions must be received no later than Friday, April 29, 2016.  Exhibition proposals must contain the following: 

Cover Letter

This letter of introduction contains current contact information including, mailing address, email and telephone.  The cover letter should contain a brief (1 paragraph) summary artist/project statement.

Artist/Project Statement

The artist/project statement should indicate the media, technique, theme and/or context of the artwork and title of the proposed exhibit. It should also address any specific technical or spatial requirements regarding the installation of the work. Please limit this to 1-2 pages. 

Current Curriculum Vitae

Include a current CV or resume, and a complete listing of exhibition history. This should not exceed 2 pages. 

A maximum of 10 Images

Include a maximum of 10 images on either a CD ROM, a memory stick or via email. 

Corresponding Image List

Include a corresponding list of images, indicating title, medium, dimensions and year of execution.

Relevant Support Material

If relevant, please include a selection of support material, such as copies of recent reviews or publications featuring the art work.

S.A.S.E with proper return postage 
If you require your submission to be returned, please include an appropriately sized self-addressed stamped envelope with sufficient return postage.

Note: Please use standard white paper. Do not send original artwork. Please use presentation folders, as proposals that are bound, stapled or placed in three-ring binders are difficult to handle. 

Please address the exhibition proposal to:

Okotoks Art Gallery | At the Station

ATTENTION: 2016 Exhibit Submission

PO Box 20, Station Main

Okotoks, AB T1S 1K1


Proposals may also be emailed to All attachments must be downloadable. 

Note: As per standard art gallery practice, The Okotoks Art Gallery’s exhibition schedule is programmed a full year in advance. This enables The Okotoks Art Gallery to fulfill provincial and federal government funding requirements and provide adequate planning time to mount significant exhibitions that are supported through educational programs and public relations.


Submissions will be reviewed by a jury comprised of art professionals in May 2016. Successful applicants will be contacted in July 2016.

]]> For Entry/id/932 For Entry/id/932
2016 GAAC Project Grants Tue, 19 Apr 2016 15:39:20 -0400   

2016 GAAC Project Grants

Deadline: May 9, 2016


The Glass Art Association of Canada is pleased to announce the 2016 GAAC Project Grants. One grant of $1500 and one grant of $1000 will be awarded to support the development of a project that benefits the artist's studio practice and promotes excellence in Canadian Glass. One grant of $1500 will be awarded to a professional artist and one grant of $1000 will be awarded to a student currently enrolled in a glass program. All members of GAAC may be eligible to apply.

Program Description

The GAAC Project Grant provides $1500 to a professional and $1000 to a student in support of a project proposal that benefits his/her artistic studio practice and promotes excellence in Canadian Glass. Projects may include, but are not limited to, classes or workshops, exhibition opportunities, travel, apprenticeships, residencies, research, creation, or equipment purchases that will benefit the artist’s practice. Eligible expenses may include course fees, travel expenses, materials, and equipment or other ancillary costs related to the project proposal. The project must be completed by May 2017. Recipients are required to submit a report outlining the use of the grant and its impact on their artistic practice, copies of receipts, and images of work completed (if applicable) by June 2017.  The report must be prepared for publication in Contemporary Canadian Glass.  Recipients are also required to acknowledge GAAC in any promotional materials associated with the project.


• Current GAAC Membership

• Students: currently enrolled in a glass program in Canada or abroad

• Practicing Professionals: not currently attending college or university

NOTE: Previous recipients of a GAAC Project Grant or Scholarship are not eligible to apply for 2 years and must have submitted their report to the Project Grant Co-ordinator.


The GAAC Project Grant is juried digitally. Please email the project proposal to Gabby Wilson at along with your contact information, indicating whether you are a student or a professional. Please upload the curriculum vitae, digital images with corresponding information, and biography to the GAAC Artist Directory at as indicated by May 9, 2016.

Project Proposal: 1-2 page detailed description of your project and its benefit to your studio practice including a budget outlining expenses as a Word document as a .doc file, labeled lastname_firstname_proposal.doc emailed to

Curriculum Vitae: Word document as a .doc file uploaded to your profile on the GAAC Artist Directory

8 Digital Images with corresponding information (title, description, and year): jpg format, RGB, 72 dpi, no smaller than 710 pixels wide uploaded to your profile on the GAAC Artist Directory

Biography: Paste a Word document as a .doc file or type in the text box in your profile on the GAAC Artist Directory.

Please include in your email your contact information, including email, and specify whether you are applying as a student or as a professional.

All texts should be Word documents as .doc files and all images should be jpgs, RGB at 72 dpi, no smaller than 710 pixels wide. If you have any problems completing your profile on the GAAC Artist Directory, please contact Gabby Wilson at

You will be notified by email that your submission was received. If you have not received notification by May 16, 2016 and you submitted your application by the deadline, please contact Gabby Wilson at


The GAAC Project grant is juried via a peer-review process by a diverse group of emerging, mid-career, and established artists. Jurors assess the merit and feasibility of the proposed project in relation to the merit of the applicant's previous work and experience, the potential value of the grant to the applicant's studio practice, and how the project promotes excellence in Canadian Glass.

Further Information

Please direct any questions or comments about the GAAC Project Grant to Gabby Wilson at

]]> and Awards/id/931 and Awards/id/931
May Member Interview -- Elisabeth Marier Wed, 24 Jun 2015 06:02:15 -0400 To see the whole interview and more images of Elisabeth's work - CLICK

GAAC:  What was it that drew you to glass as your artistic material of choice?

Elisabeth Marier:  My studies in visual arts in the 1970s made me particularly appreciate formalist sculpture –when materials are used for their intrinsic qualities. I chose window glass for my personal creative work, but I also wanted to explore its numerous facets, in the wake of the Studio Glass Movement. At a time when visual arts were focused on the importance of the conceptual intent versus the mastering of a craft, at a time when studying in fine crafts was not in trend in Quebec, my desire to understand the characteristics of this material led me to pursue the investigation by digging up available technical documentation and experimenting on an array of techniques. I preferred thermoforming. In 1983, while on an apprenticeship of several weeks with Peter Keogh and François Houdé at Sheridan College, Houdé told me about his project of starting a new training and creation facility in Montreal. In 1985, together with François Houdé and Susan Edgerley, we devised a training program in glass art. This association with Espace Verre sealed my definitive bond with glass.

]]> Programs/id/928 Programs/id/928
April Member Interview -- Rick Silas Wed, 24 Jun 2015 06:00:51 -0400 To see the whole interview and more images of Rick's work - CLICK

GAAC:  What was it that drew you to glass as your artistic material of choice?
Rick Silas: When I was 7 years old I was playing in an old scrapped car behind my uncle’s garage.  The car was facing south and someone had thrown a rock through the front windshield. The shattered glass sparkled in the sun and I thought it was the most beautiful thing I had ever seen. I spent the afternoon playing in the front seat reshaping the hole in the glass. Many years later and after five years of fine art study I found myself searching for a medium that reflected the contemporary world around me better than the more traditional mediums I had been taught in college. I had taken some hot glass courses but to me the medium was limited in many ways; scale, start up costs, energy cost and the developing world competition. So I started working in cold glass by creating reverse paintings on float glass but I added a twist by putting a layer of resin on the glass and putting on a temporary membrane that allowed me to manipulate the surface to create a three dimensional effect.  I call this effect Ice Glass. After breaking a few paintings going back and forth to shows I realized I had better use tempered glass as my canvass.  The cost though was prohibitive. I knew tempered glass couldn’t be cut so I wondered what the factories did with their mistakes. I found out they just threw them away so I started trading my finished art pieces for access to this waste material. This gave me an unlimited supply of tempered glass to create art and experiment with.   I joke with my clients that I sign my experiments and sell them as art.

]]> Programs/id/927 Programs/id/927
March Member Interview -- Holly Cruise Wed, 24 Jun 2015 05:59:14 -0400 To see the whole interview and more images of Holly's work - CLICK

GAAC:  What was it that drew you to glass as your artistic material of choice?
Holly Cruise:  I think I had tried everything else and hadn't found a material I really connected to. Glass has a physicality that is incomparable to other materials, it's like an extension of you. It's also really intense but also soothing at the same time. Like extreme meditation. I am also really attracted to the colours and optics of glass... Glass captures colours in a way other materials just don't, and I was very drawn to that. Also, when I met other glassblowers, I felt like I had found my tribe.

]]> Programs/id/926 Programs/id/926
February Member Interview Retrospective Wed, 24 Jun 2015 05:57:00 -0400 To see the whole retrospective - CLICK

In honor of 2015 being the Year of Craft, we wanted to reflect on all the different materials GAAC artists use.  This is how some of our members responded to the question: What non-glass materials also inform your practice?

]]> Programs/id/925 Programs/id/925
January Member Interview -- Lisanne Lachance Wed, 24 Jun 2015 05:54:41 -0400 To see the whole interview and more images of Lisanne's work - CLICK

GAAC:  What was it that drew you to glass as your artistic material of choice?

Lisanne Lachance:  Otherwise, I always got talent for arts and craft.In high school I was attracted by the qualities and property of the glass , but I waited after 5 years of studying fine art before concentrating my practice around it. As far as I remember I was attracted by this matter: my grandmother had a beautiful collection of different glass objects that always fascinated meas a child. Tiffany style lamps, carnival glass and crystal carved vessel sets,collection of small flame worked animals families... I remember all those shiny objects and mostly the prohibition to touch them. This has probably built a subconscious love for the material in my heart.

]]> Programs/id/924 Programs/id/924
December Member Interview -- Anja Isphording Wed, 24 Jun 2015 05:52:20 -0400 To see the whole interview and more images of Anja's work - CLICK

GAAC:  What was it that drew you to glass as your artistic material of choice?

Anja Isphording:  My grandma had this small hand blown drinking glass with a gold rim and a very intricate and pretty wheel engraving.I didn’t know at the time that glass engraver was an actual occupation but I knew I wanted to learn how to cut glass. So after high school, 30 years ago, I started an apprenticeship at one of the three German Glass schools that still taught the traditional copper wheel engraving.

While I love engraving, what I really wanted was to create my own glass shapes and to develop a piece from the first sketch to the last polishing by myself. So after I opened my studio in 1989 , I started experimenting with the lost wax kiln casting technique and I found thatthe natural appearance and feel of kiln cast glass and it’s translucency were the perfect fit for my organic works.

]]> Programs/id/923 Programs/id/923
GAAC half-scholarship to Pilchuck! Wed, 17 Dec 2014 04:38:24 -0500 GAAC will award ONE member a half-scholarship to attend Pilchuck Glass School this summer.

Click for all application details and submission guidelines

Submissions are due before 11:59pm on January 2, 2014

]]> Programs/id/907 Programs/id/907
November Member Interview -- Amelie Girard Wed, 17 Dec 2014 04:33:11 -0500 To see the whole interview and more images of Amelie's work - CLICK

GAAC:  What was it that drew you to glass as your artistic material of choice?

Amelie Girard:  I don't think I chose glass as much as glass chose me, to be honest...  I come from a science background so it definitely wasn't a straight line.  Long story short, after several years working as a teacher, I was contemplating a career change and was juggling different options when I bumped into an article about scientific glassblowing.  Something clicked.  So I started looking into it.  When I realized that there wasn't any scientific glassblowing training available here in Canada, I decided to try the glass art program at Espace VERRE instead, thinking it'd at least allow me to get a feel for the material.

]]> Programs/id/906 Programs/id/906
October Member Interview -- Maryse Chartrand Wed, 17 Dec 2014 04:29:57 -0500 To see the whole interview and more images of Maryse's work : CLICK

GAAC:  What was it that drew you to glass as your artistic material of choice?

Maryse Chartrand:  Glass is a fascinating material. So complex and full of possibilities. It’s solid and fragile, dense and fluid. It’s matter and light. Yet, through all these contradictions, it maintains harmony and balance. What other material can give you this?

]]> Programs/id/905 Programs/id/905
September Member Interview -- Kathleen Black Wed, 17 Dec 2014 04:25:25 -0500 To see the whole interview and more images of Kathleen's work - CLICK

GAAC:  What was it that drew you to glass as your artistic material of choice?
Kathleen Black:  Glass is just so shiny! Its all about the light moving around it, through it, bouncing off it. Reflective and transparent and hard. It is a beautiful material that can change shape, change colour, change texture and is a delightful challenge.  Glass artists love light and how it changes glass.

]]> Programs/id/904 Programs/id/904
GAAC'S August Member Interview Ed Colberg Fri, 05 Sep 2014 05:14:40 -0400 To see the whole interview and more images of Ed's work : CLICK


GAAC:  What was it that drew you to glass as your artistic material of choice?
Ed Colberg:  When I was a kid, much to the chagrin of my parents, dry grass and our garage, I had a fascination with playing with fire. I think this is what first drew me to take a glass blowing class. I’m quite happy to have found a constructive way to play with fire. Glass became a material choice when I discovered how it moves. Since becoming conscious of conceptual choices I find glass to be a great medium for talking about ideas relating to consciousness and the nebulous connection between the physical and the non- physical.

]]> Programs/id/888 Programs/id/888
GAAC'S July Member Interview Rachael Wong Fri, 05 Sep 2014 05:10:00 -0400 To see the whole interview and more images of Rachael's work : CLICK


GAAC:  What was it that drew you to glass as your artistic material of choice?
Rachael Wong:  The process of glassblowing. I was drawn to the immediacy of the experience and the connection of the body’s movement to the movement of the material. The way glass is connected to the body and time holds a lot of meaning.

GAAC:  How much of a role has education played in your development with the material?
RW:  Education has played a monumental role. I began in glass as a student at Alberta College of Art and Design, choosing it as my major after taking an elective in glassblowing in my Foundation year. I later went on to pursue my master’s degree at Alfred University. I started to learn about the material and its possibilities at ACAD while becoming aware of the possibilities in art. At Alfred, I was able to push my ideas and contemplate the work from various perspectives and gain insight into the contemporary landscape.

]]> Programs/id/887 Programs/id/887
GAAC'S June Member Interview Cedric Ginart Fri, 05 Sep 2014 05:07:09 -0400 To see the whole interview and more images of Cedric's work : CLICK


GAAC:  What was it that drew you to glass as your artistic material of choice?

Cedric Ginart:  I started as a scientific glass blower it was just natural to me to express myself with that material.

GAAC:  How much of a role has education played in your development with the material?

CG:  Education gave me essential technical skills that help me to express myself.

GAAC:  Who (or what) have played some of the largest influences on the development of your work - both thematically and technically?

CG:  My background in science and scientific glassblowing influences me a lot in my creation. But my first approach with art happened when I took classes with Laura Donefer and Karina Guevin. It was refreshing to make non-functional glassware and to discover color glass.

]]> Programs/id/886 Programs/id/886
GAAC'S May Member Interview - Carissa Baktay Tue, 10 Jun 2014 05:14:17 -0400 To see the whole interview and more images of Carissa's work : CLICK


GAAC:  What was it that drew you to glass as your artistic material of choice?

Carissa Baktay:  I started my education at the Alberta College of Art and Design as a painting major. After watching a PBS documentary on glassblowing I decided to give it a try. The first few classes were overwhelming; I was hot, overstimulated and a bit scared. After that I became obsessed. It makes sense to do something so physical and driven by handwork and precision; I grew up building and working on cars. At this point in my glass journey I am obsessed with technique. I think that it is one of the things that keeps me making and challenging myself with the material- limitless technical improvement.

]]> Programs/id/848 Programs/id/848
GAAC'S April Member Interview - Joanne Teasdale Mon, 05 May 2014 13:49:36 -0400 To see the whole interview and more images of Joan's work : CLICK

GAAC:  What was it that drew you to glass as your artistic material of choice?
Joanne Teasdale: Early on, my paintings were photographed with a 4x5 camera for my records and looking at the transparencies on the light table, I was moved by how they were affected by light and the glass beneath them. I decided that I had to find a way to integrate images to glass. After a few years of research, I found the fusible film that would take me on the journey of exploring the relationship between imagery and this extraordinary material that is glass.

For more information on Joanne Teasdale and her work, please visit her GAAC Artist Profile at:, or her website at:

]]> Programs/id/832 Programs/id/832
Winners of the 2014 Glass Art Association of Canada's Project Grants Sun, 11 May 2014 05:21:03 -0400 The professional project grant will be awarded to Cheryl Wilson-Smith and the student project grant will be awarded to Shay Salehi.

We would like to thank this year’s jurors: Carole Freve, Karli Sears and James Lavoie for all of their assistance in selecting the winners from such a talented pool of applicants.


Cheryl Wilson-Smith (top image) has been selected as the recipient of GAAC’s professional grant of $1,500. She will be using the grant to cover a portion of the costs of her doing a residency as a visiting artist at the University of Washington and the Solheim Rapid Prototyping Lab. Cheryl’s process is similar in theory to that of 3D printing and she has been invited to learn, explore and create using 3D printing at the Solheim lab, focusing on 3D printing of glass (a process pioneered at the Solheim lab termed Vitroglyphic). What a great opportunity. See Cheryl Wilson-Smith’s profile HERE


Shay Salehi (bottom image) has been selected as the recipient of GAAC’s student grant of $1,000. Salehi will be using these funds to set up a studio where she can kiln cast her work now that she has graduated from Sheridan College’s glass program. Salehi’s current work involves the pate de verre technique using industrial impact beads (traditionally used for blasting and polishing metals). Shay Salehi’s portfolio can be found HERE


Congratulations to our recipients and many thanks to our jurors and applicants.

]]> Programs/id/836 Programs/id/836
GAAC's - March Member Interview - Jane and Kathryn Irwin Thu, 17 Apr 2014 11:36:44 -0400 See the interview at

]]> Programs/id/818 Programs/id/818
Contemporary Canadian Glass: Magazine of the Glass Art Association of Canada SUBMISSION TEMPLATE Tue, 22 Apr 2014 10:05:31 -0400 See PDF for a printable template


  • ·         January 7th (publishing date of February 15th)
  • ·         May 7th (publishing date of June 15th)
  • ·         September 7th (publishing date of October 15th)

** Early submissions are always appreciated

]]> Programs/id/803 Programs/id/803
February Member Interview - Ione Thorkelsson Tue, 11 Mar 2014 10:14:14 -0400 Visit for full interview

]]> Programs/id/792 Programs/id/792
GAAC's January Facebook Member Interview - Hana Schweighardt Tue, 04 Feb 2014 12:59:38 -0500 The January member interview is now online, you can visit it here:

Image - Bunny Goblet, Kiln Cast System 96 Clear Glass, Approx. h 8" w 4", 2011

]]> Programs/id/781 Programs/id/781
Dana McLean Chosen for The Glass Art Association of Canada's Pilchuck Scholarship Thu, 16 Jan 2014 08:56:14 -0500 Congratulations, Dana. Dana will attend Brian Corr’s workshop: Expression of Form & Void.

]]> Programs/id/772 Programs/id/772
20% Discount for GAAC Member on Glass Quarterly Thu, 20 Oct 2011 08:05:52 -0400  










Special offer reserved for GAAC members

5 issues for $33 U.S. (20% off the cover price)

10 issues for $62 U.S. (20% off the cover price)

To start your subscription, please mail the attached PDF to

GLASS Quarterly

126 13th Street

Lower Level

Brooklyn, NY 1121


*This offer applies to GAAC members residing in Canada only. For GAAC members outside of Canada, please email for adjusted subscription rates.

Visit for more information on the magazine.

]]> Programs/id/3 Programs/id/3