Directions, map and couponLampworkED GOBLETS
by Bandhu Scott Dunham
Lampworked goblets represent the confluence of two
interesting streams: the formal exploration of the goblet
tradition, and the unique possibilities of lampwork technique.
The assembly of components at the bench, with a torch, gives
rise to a unique perspective and attitude toward artistic
composition. Ginny Ruffner has pointed out that lampwork is
inherently additive; that is, one typically starts with a small
mass of glass to which additional bits are added in succession.
Furthermore, because the artist starts with linear elements
(glass rods and tubes), works often have distinctly linear
qualities. One sees in lampwork a (hopefully) unified finished
object composed of (typically) recognizably distinct (often
linear) components.
The use of a torch gives great flexibility in assembling the
component parts. For example, there is no need for a
work-in-progress to spin nicely on the end of a punty. In
addition, a focused, directional flame allows access into
recessed or hard-to-reach areas of a piece, unlike the
encompassing heat of a furnace or glory hole, which can heat
only from the outside. The use of borosilicate glasses, which
are typically too stiff to be favored by furnace workers, also
opens possibilities unique to lampwork. The difference is not
one of merit or superiority” but of sensibility influenced by
technique. Far be it from lampworkers for many years overlooked
by the majority of art appreciators to claim their techniques
are somehow “better” than others! Nonetheless, it is interesting
to observe the compositional attitudes which arise from a
particular technique.
As for the tradition of the goblet form, there is much one can
say. The function of the goblet is, first of all, to hold a
liquid, usually wine. By revealing the levels of meaning within
this simple function a designer can elevate a goblet to the
level of high art. Here we are especially interested in those
aspects of the goblet which stand out for lampwork artists.
First of all, the goblet is nothing if not a somewhat linear
assembly of distinct components: there is a top, a middle and a
bottom. It is perhaps for this reason (not to mention their
collectibility) that lampworkers have always been attracted to
goblets. The goblet is a recognizable, functional form which can
effectively be assembled from elements produced at the torch.
And each of the elementsÑthe bowl, the stem and the footÑhas
functional and aesthetic roles which are highlighted in unique
ways by different lampwork artists.
Historically, lampworked goblets often mimicked the formal
traditions established in other glassworking techniques. The
twentieth century dragon-stem goblets of Karl Muller serve as an
example. Some of these works qualify as reproductions Mullers
remarkable goblets were mistakenly identified as authentic
Renaissance glass for many years. Other, more modern, pieces
take these traditions and expand upon them, pushing the limits
of intricacy, complexity, delicacy and therefore sensibility to
new levels practical only for lampwork technique. The formal
tradition of the goblet, based largely in other techniques, has
branched off into a unique style exemplified in the work of
modern lampworkers. While this article is too brief to give a
thorough survey of contemporary lampworked goblets, we can
sample the developments in this field by noting how a few
artists treat the primary elements of the goblet form.
The liquid is held, obviously enough, in the bowl or top of the
goblet. This containment is an aesthetic as well as a practical
task. In displaying wine, a goblet has already begun to make a
statement about the occasion, whether an informal gathering of
friends or a politically sensitive affair of state. The goblet
may tell us something of the meaning this drink has: it may
commemorate an auspicious event or consecrate a shared venture
(in religion, business or romance). Perhaps there is an
engraving or other decoration to advertise the social standing
of our host. On the other hand, there may be old lipstick
stains, cracks or scuff-marks to tell us the history of this
glass and set a different mood!
Our first experience of a glass of wine is to see the liquid
displayed in the bowl. We enjoy its color; perhaps we swirl the
drink or observe its legs. We may savor the aroma, highlighted
by the bowls capacity to collect vapors and to deliver them to
the nose. The bowl of the goblet, then, embodies the sensual
delights of the vessels function, and its qualities can be
enhanced in different ways for artistic purposes.
Among lampworkers, some of the most sublime goblet bowls are
created by Roger Parramore, who pays respect to the Venetian
tradition. His scientifically-derived technique produces simple,
dramatic, deliciously satisfying forms. Other artists, such as
Shane Fero, Fred Birkhill and Robert Mickelsen, emphasize the
bowls aesthetic role through rich, elaborate coloration.
The Stem
The practical function of the stem is to support the bowl full
of drink and to provide a grip for the hand. Esthetically, the
stem performs many other functions while serving its utilitarian
purpose. For example, the physical strength of the stem can be
contrasted with a fascinating delicacy of appearance, and its
design can create a delightful visual tension between the other
elements of the goblet form. The untitled piece by Horst-Jurgen
Walther in the collection of the Corning Museum of Glass is an
excellent example of this tension, highlighted to invoke the
tenderness of new organic growth.
The stem is the most linear element of the goblet, and given the
linear tendencies of lampwork, we can expect to see some
interesting twists and curves in stems by lampwork artists.
The most visually satisfying goblet stems transfer the weight of
the bowl down to the foot with a special grace or wit. Perhaps
nowhere has this option been exploited more than in Murano. Even
in the more athletic (dare I say brutish? Ha!) world of offhand
glassblowing, delicacy and intricacy of form has been given free
reign in goblet stems. The stems function as a handle leads to
decorative elements that serve also to enhance the hands grip.
Knops, marises, hobnails and raised decorations all serve this
two-fold purpose. More elaborate decorations, including
monograms, curvaceous dragons or orgiastic scenes of Carnivale
may pass beyond decoration to give additional levels of meaning
to the stem. Contemporary Italian-born lampworkers such as
Cesare Toffolo, Emilio Santini and Lucio Bubacco carry on this
tradition, while exploring new formal directions as well.
The Foot
Functionally and esthetically, a goblets success may rest on its
foot. The foot must first of all support the entire goblet
adequately. Its width and shape must somehow balance with the
bowl, either by complement or by contrast. To function properly,
the foot must rest flat. Having said these things, we must
observe that some of the most interesting variations on the
goblet come from violating our expectations of the traditional
functions of each component. One might dispense with the foot
altogether!
In one sense, the function of the foot is to enable one to pause
in drinking, perhaps to cut off a bite of ones dinner. A goblet
without a foot would demand the exclusive attention of its user,
or would require a specific circumstance. I have seen
interesting lampworked goblets designed for an afternoon of
lounging on the beach. They consisted of a bowl and a long spike
for a stem. The drinkers impaled the stems into the sand between
sips, which worked better than a conventional foot under the
circumstances.
The sensibilities of modern lampworkers bring a playfulness to
the goblet tradition. Art need not be “serious” to inspire
delight in the viewer. In serving wine, goblets invite a mood of
celebration, whimsy or intimacy. Shane Feros “Tribute to Mir” is
playful invocation of the spirit of the Spanish Master. Fred
Birkhills Flagellate goblets have already started to enjoy a
party, before the wine is even poured.
In contrast to the staid formality of ancient goblets seen in
museums (which were meant to communicate dignity and grace
elegant tables) contemporary lampworked goblets often strive for
whimsy, humor or surprising formal statements.
Glass, an inherently fragile material, must usually be sheltered
from danger: A delicate, ethereal goblet, appreciated as a pure
form, must be protected from rough handling or accidental
breakage. At the same time, to be trusted in use, a functional
goblet should appear and feel solid. Some modern goblets defy
both of these assumptions by introducing an element of
motionÑeither literal, as in Sally Praschs “Bouncing Drinking
Goblets” with their spring-like stems, or implied, such as in my
own “Flow” Goblets and the works of many other artists.
Indeed, contemporary goblets, and lampworked goblets in
particular, often find their strength in playing with our
assumptions and commonsense rules about the goblet form. Liz
Ormess Dinner for Two highlights the meaningful and hoped-for
function of a goblet pair, while Brian Kerkvliets Gaffer Goblet,
who is gaffing a goblet, folds the function and meaning of the
goblet back upon itself in a charming play on the process of
creation.
Even the notion of function can be turned on its head. Utility
can be denied for the sake of a visual statement, as in the
folded bowl of one of Donovan Boutzs pieces. Or the act of
drinking can take on new implications. Sally Praschs Musical
Goblet carries beads in a hollow stem; as the glass is tipped,
the beads tumble through the curved tube, sounding musical notes
as they bounce along the inner wall.
Commemoration and story telling are also traditions in the
history of goblet making. Contemporary lampworked goblets exert
the freedom to honor the ordinary or to give an ironic twist to
a story. As an example, Don Niblacks Crystal River Goblets seem
to invite us to dream of a fishing trip. Brian Kerkvliets Toast
to Juggling the Complexities of Life is a hieratic celebration
of the ordinary challenges of the artists lifestyle.
A somewhat more serious mood is expressed by the strongly linear
forms of Susan Plums Copa de Ceremonia 1, or in the
ecclesiastical stemware of Roger Parramore. Clearly ceremonial
in nature, these works are nonetheless accessible to the modern
hand, as are the tribally-inspired Fertility Goblets of Emilio
Santini.
Any brute can guzzle wine straight from the bottle. When we
decide to use a glass we take a step toward a higher level of
culture.
The path thus embarked upon is an unending aesthetic adventure
which can, metaphorically, reveal to us many mysteries of the
human condition. Contemporary lampworked goblets span the
spectrum from simple and charming to elaborate and challenging.
Aware of the traditions that precede us, we must also strive to
break new ground and embody our personal, modern sensibilities.
In this way, lampworkers do their part to maintain and enliven
the vibrant tradition of the goblet form. Cheers!
c. Bandhu Scott Dunham
Bandhu Scott Dunham is an American lampworker and the owner of
Salusa Glassworks, Incorporated. He has taught at numerous
schools and studios, including the Penland School of Crafts, The
Studio of the Corning Museum and the Niijima Glass Art Center.
Bandhu is also the author of Contemporary Lampworking: A
Practical Guide to Shaping Glass in the Flame.
© Centro Studio Vetro Murano
Thanks to CSV
