MURANO GLASS E-ZINE
|
In cooperation with Vetro magazine and the Centro Studi Vetro Murano, Art of Venice presents
LampworkED
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. |
Lampworked goblet in soft glass, Murano 2003 Info>> |
|
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. |
|
|
Lampworked goblet in soft glass, Murano 2003 Info>> |
The
Bowl 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. |
Lampworked goblet in soft glass, Murano 2003 Info>> |
| 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. | |
|
Lampworked goblet in soft glass, Murano 2003 Info>> |
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. |
Lampworked goblet in soft glass, Murano 2003 Info>> |
| 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!
|
|
© 1998 Centro Studio Vetro Murano Thanks to CSV |
![]() |
Related Pages and info:
IBISCUS, Lampoworked blown (soft) glass
Mauro Bonaventura, high end lampworks (art glass sculptures)
For information about these goblets contact Alex