These photos are taken by Roger Meyers. There were over 1600 images for us to choose from, and for those, he had to edit his images down from about 3000! SO, this is a thank you to him and to all the other participants who journeyed on that 5-day tour and had the best time ever looking at glass, meeting the artists, touring around Seattle and dining on excellent food.
Walking into a hot shop is exhilarating, and even if you have done it before, that sense of wonder never lessens, believe us, as we have been going on these trips to Seattle for over 15 years, and some of our collectors have opted to go back with us 2 or 3 times…. It’s that good!
Below is a link to our online blog where many more photos are posted.
Enjoy! Jim and Kim
Schantz Galleries is pleased to announce John Kiley as one of the featured artists at this summer’s Glass Collectors Weekend, June 27-29. Contact the gallery to learn more about this and other events throughout the year, 413-298-3044 or kristen at schantzgalleries.com
Garden Tower, 2015 29.75 x 10 x 10″
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John Kiley honed his glass-making skills under the tutelage of giants of the field—names like Moore, Chihuly, Marioni, and Tagliapietra. Today, this training feels like prologue in the development of a glass sculptor pushing the medium to dazzling ends. When Kiley ventured on his own he focused on refined forms, transparency, and the essential characteristics of color. His signature technique joins separate hand-blown glass forms together and emphasizes the membrane between them. Incised cutouts and passageways reveal a multiplicity of perspectives, shapes, and reflections—light in continual flux. Grace is achieved through the dichotomy between a whole and its parts, internal and external looking, and positive and negative space.
John Kiley, photo by Russell Johnson
Today, the basic architecture of Kiley’s sculpture has remained essentially unchanged. Being an artist is about repetition, but also about pushing ones creative process within a specific style. Much like life, an artist progresses and matures but is always fundamentally himself. From this cardinal place, much has evolved in Kiley’s work.
EvenFall by John Kiley, at SOFA Chicago
A few years ago, Kiley was doing studies for a large-scale, opaque composite sculpture very unlike his glass work, in which a solid exterior camouflages the interior joints where the individual pieces meet. This exercise brought him a fuller understanding of how his sculptural forms functioned. Pictured above is “Evenfall”, the result of that exploration.
Kiley used this as a springboard during a residency at the Museum of Glass in 2014, when he further developed a recent technique of adding a “halo” of glass in between two connected glass forms to highlight the membrane even more. Back in the clarity of glass, Kiley exposed his remarkable interiors through equally resplendent, and multi-layered transparent exteriors. Incorporating the third color draws even more attention to the membrane and opens even more avenues for the optical interplay of color, light, and reflection. In Skagit Halo (2015), an elegant yellow ring is poised between fiery crimson and cool amethyst, pulling the viewer through the open circle and into its orbit.
Skagit Halo, 2015 17 x 13.5 x 13
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Even more dramatically, Kiley has expanded his lexicon of cutaways, which in turn has enhanced the combination of arcs and curves the artist can achieve. Twisting Overlap (2014) turns a simple sphere into an evolving geometric landscape of shapes depending on the viewpoint. A sculpture comprised of only two colors becomes a kaleidoscope, overlapping combinations of hues occurring as one twists around the sculpture.
Another evolution in Kiley’s oeuvre is the juxtaposition of several works together, whether stacked, wall-mounted, or hanging from the ceiling. If a single sculpture appears to balance impossibly on a precarious edge, the feat of three sculptures stacked one atop another without any adhesive defies the laws of physics. Garden Tower (2015), above, celebrates many facets of vintage Kiley—blue and green glass segments cut and fused together with a single membrane. However, the totemic assemblage of three works in a single, breathtaking piece exponentially increases their visual impact with a unique relationship to negative space, expanded reflections and shadows, multiplied and shifting contours, and heightened depth of color.
Ever since childhood, Kiley has been intrigued by the idea of creating a perfect object then breaking it. When Kiley blows a flawless sphere of glass, then saws out large sections, flattens it against another sphere, and contours it in the cold working phase, he is satisfying that urge. But he is also consummating a heightened level of perfection. A wonderful tension emerges between the act of deconstruction, the process of reconstruction, and the result of visual transcendence.
John Kiley, Shadow Maker, 2014, a wall installaiton