At age two Liz Strickland created her first piece of artwork, multicolored dots on a piece of paper. When her mother asked her about her creations she titled it “Rainbow Snowy Day”. With a life long passions for the arts it was no surprise that Liz chose to pursue a BFA in Glass at California College of the Arts. In 2009 she graduated with distinction.
Since the completion of her under graduated degree Liz has continued to make art and show throughout the bay area. To continue her practice as a glass artist Liz interns and teaches at The Crucible. She is responsible for the maintenance of the Crucible’s Fusing and Slumping Department in exchange or kiln use. She has created graphics for the 2012 Glass symposium. She also spent time volunteering with the summer youth glass blowing classes, helping to shape the next generations of glass artist.
Because the elements of detail, size and material spark an initial interest, the work draws the viewer in with its stunning presence. The content displayed in its intricacy holds one’s attention, constructing a space to explore the many levels of history, beauty and personal connection to place. The cinematic co-mingling of concept and content nurture an environment of discovery allowing the viewer to assemble a personal reading of the story, imagery and emotion found within each piece. Liz’s work investigates the overlap of perception, past and present, using materials, images and scale to manifest an emotional landscape that allows for total immersion in the work.
Has been working in glass in California since 2007.
I have been an artist most of my life but only recently began working in glass. In 2007, I started working with stained glass and moved through kiln formed glass to cast glass after taking a class at The Crucible. My work reflects the natural world I see around me, combining my love of nature and a passion for art.
Creating a glass sculpture out of a clay or wax model is always a journey of discovery. My geeky side loves the physics of glass, the problem solving, and the complexity of the process. My emotional side loves the observation and discovery of the form, the surprise at the outcome, and discovering new aspects of myself through the process.
During the 1970’s through mid 1990’s, I worked with a group of activist artists called Fireworks Graphics to produce silkscreen and offset posters addressing the social justice issues of the day. The Fireworks poster collective produced over 150 posters (mainly silkscreen). Fireworks Posters are part of the Oakland Museum of California poster collection and can be seen with other social justice posters of the period at: OMCA Social Justice Poster Collection.
I attended San Jose State University and majored in Biology. I worked at the University of California, Berkeley in many capacities and retired from the Central Budget Office in 2009 ready to devote my time to glass.
I share a studio at The Crucible in Oakland, California with two other glass artists. We invite people to stop by “Go Go Glass” in Studio’s 1 & 2 at the Crucible. The music is always on and the conversation is always interesting.
Raven Series: “Raven Ceremonial Rattle”
Lead glass, feathers, beads, and steel
Raven Series: “Raven Sanctuary”
Cast glass, deer antlers, ceramic egg
Started working in glass in Wisconsin in 2001. She has been working in glass in California for 1.5 years.
While working as a corporate trainer, JC began to teach herself lampworking in 2000. In January 2005, addicted to melting glass and having established the roots of her current business, she began making beads full time. The decision to dedicate her total energy to learning the craft and business of beadmaking allowed for a self-education revolution for JC who soon found additional energy from the advise and inspiration of her peers. After exploring and learning to work enamels on lampwork beads, JC began teaching enamel workshops and classes in 2007. Her fondness for enamel was quickly surpassed by a desire to control stringer and create designs with fine, straight lines inspired by a long history of architectural interest. JC currently works from a home studio on the Mendocino coast in northern California.
Lampwork, soft glass, enamel, stringerwork
Average focal bead 25mm
Lampwork, soft glass, stringerwork
Average bead size 30-4-mm
Has been working in glass since 2004.
After 40+ years in social services and the business world, on her 60th birthday, Lee decided to change directions. She had always wondered if she had a creative bone in her body and this seemed like the time to begin to explore this. She happened upon The Crucible, and enrolled in Beginning Fused Glass with Mary White and Janet Hiebert. She has been working with glass (fusing, kiln casting, and flame working) ever since and discovered her passions: creating glass art, teaching glass art at the Crucible’s Youth Camps, and supporting art education for youth.
Lee loves the challenge and the infinite potential in glass. It enables her to be creative in ways unlike any other medium (she has dabbled in painting and welding). Lee’s inspirations are her life experiences, family, friends, and humankind, in general.
Lee works with 2 other glass artists in a shared studio at the Crucible. They call themselves “Go Go Glass” (one of Lee’s first “careers”, back in the 60’s, was as a Go Go Dancer). Lee is so happy when she’s working in the studio, that she dances and sings, joined at times by her studio mates, Barbara Barnett and Peggy Wilson, thus the name of the group.
Oben Abright was born in 1980 in San Francisco. The son of artists, Oben spent his early years drawing, painting and making clay sculpture. He received a BFA in glass from California College of Arts in 2004. Since 2004, he has shown with Habatat Galleries Chicago, now Echt Gallery, and Imago Galleries Palm Desert. Oben maintains a studio in Oakland, California.
Born: San Francisco, CA, 1980
2004 California College of Arts, BFA, San Francisco, CA
“Can Lady – West Oakland”
Blow Glass, Oil Paint, Concrete
Started working in glass in 2003 at The Crucible.
Peggy Wilson, who has a doctoral degree in Nursing Science and was a psychiatric nurse for more that 35 years, has been working with glass at The Crucible since 2003, when she took an introductory class in slumping and fusing with Mary White and Janet Heibert. She became a steady member of the slumping and fusing lab, and took every glass class that The Crucible had to offer. She has retired from her day job and shares Crucible studio space with Barbara Barnett and Lee Granberg. She is currently engrossed in kilncasting and coldworking.
Started working in glass in 2000.
Lauren Ekman lives and plays in California, and has been making little treasures since 2000. Lauren’s passion is beads (and round rocks!). She also makes jewelry, but loves working on the torch and seeing the red melt of the glass as it turns into a bead. She hopes you enjoy looking at them as much as she enjoys making them and teaching others to make them.
Complete Artist Bio and artwork images coming soon…
Started working in glass in 2003 at the California College of Arts and Crafts (now CCA) in Oakland, CA.
Artist Jonah Ward (b. August 31, 1984) creates artwork that, in its most literal form, are compellingly aesthetic; in its most metaphorical, are a testament to our always relevant interaction with the natural world. His original and most prevalent series of work is composed of panels of wood stamped with what could be tar-like paint and printed with abstract designs and meanderings. Upon closer inspection, the different woods are scarred with burns: what is left over when Jonah drips, ladles, presses, cools, and peels molten glass from them. The final image essentially becomes a drawing formed with glass.
Jonah’s works are as much a product of his education as his background— born on Foster Mountain in Willits, California, raised on a historic homestead at the end of red dirt roads, and educated in a one-room schoolhouse. This intrinsic point of view has influenced his way of thinking as he continues to cultivate a dialog with nature. While requiring sustained physical interaction with natural materials, Jonah’s works are also paradoxically devoid of his literal touch or imprint. He acts more as a facilitator—harnessing natural processes and phenomenon, while still according them their proper respect for their capacity for both incommensurable beauty and destruction.
The idea of making a painting or drawing using processes and/or materials that normally wouldn’t fall into that category is very important to him. The final work represents an organization of seemingly chaotic content and situations, yet bound by a sense of structure, a common thread that has become prevalent in all of his work.
“Burnt Panel Triptych No. 11”
Glass Burned Red Tennessee Cedar Wood
29” ¾” x 7”” each
“Burnt Panel Multiple No. 3”
Glass Burned Poplar Wood
12” x ¾” x 72” each
Started working in glass in 2001 in Oakland, CA.
JP Long’s sculpture elaborates the dynamic fluidity and rigidity of the opposing materials, glass and steel. Form, mass, and implied movement are the three fundamental themes inhabiting his work. Based upon natural tensions between opposing harmonies, Long elegantly contemplates the capacities of steel and glass, both technically and conceptually.
Blown Glass and Steel
81” x 31” x 16”
Lamp worked glass and steel
30” x 20” x 9”