Complex things are easier understood when reduced to their simplest form – 74.67/224.01 can be interpreted and written as 1/3. Likewise, vessel forms in blown glass can be reduced to composites of basic shapes. Spheres, cones and cylinders are the building blocks of all blown forms. These objects are a celebration of all things basic and basicness itself. — Reid Ferguson
Reid Ferguson is a designer and craftsperson based in Toronto. A graduate of the Sheridan College Craft and Design program, Reid works primarily in glass. Ferguson has a penchant for things that are in a state of decay and seeks out symptoms of the constant struggle between natural and human forces. In culverts, train yards, and abandoned buildings, Reid is often fixated by visceral sensations. He distills and translates these elements into physical objects that serve as a more palatable illustration of his experiences.
Reid Ferguson was accepted as an Artist-in-Residence (Glass) at Harbourfront Centre in 2017.
Is it good, or is it bad?
Is it yes, or is it no?
Is it left, or is it right?
Is it beautiful, or is it ugly?
Is it love, or is it hate?
Is it under, or is it above?
Is it fast, or is it slow?
Is it precious, or is it insignificant?
Is it smart, or is it dumb?
Is it caring, or is it neglect?
Is it meticulous, or is it sloppy?
Is it fascinating, or is it boring?
Is it too much, or is it too little?
Is it truth, or is it lie?
Is it forward, or is it back?
Is it too gentle, or is it too harsh?
Is it happiness, or is it sad?
Is it new, or is it old?
Is it predictable, or is it random?
Is it eternal, or is it ephemeral?
Is it you, or is it me?
Is it conflict, or is it peace?
Is it heavy, or is it light?
Is it orderly, or is it chaotic?
Is it accidental, or is it intentional?
Is it add, or is it subtract?
— Ji Huang
Ji Huang is an international artist whose work explores the changing dynamic between material, craft and culture through experimentation. Ji’s work investigates modern techniques while reinventing traditional craft through constant interests in cultural identity. His work is in the collections of the Victoria and Albert museum in London, and Museo Del Vetro in Venice.
Ji Huang completed his graduate studies in Ceramics & Glass at the Royal College of Art in London. He also studied glass at the University of Washington and has worked at Pilchuck Glass School. Ji recently completed a residency in Murano, Italy.
Ji Huang was accepted as an Artist-in-Residence (Glass) at Harbourfront Centre in 2019.
Glassblowing has predominately been a vessel-based practice for millennia, and even now, the fundamentals of the practice are taught through the exploration of the vessel form. Form invariably follows function; but what happens to the vessel when its function is deliberately subverted? Glass is a unique medium in myriad ways; it can be completely transparent or opaque, strong and yet brittle, coloured or absolutely colourless. It requires the involvement of the body in its creation; and yet in its malleable state, we can never touch it. I work with the properties and contradictions of the material to further the historical dialogue, subverting function as a means to explore our relationship to volume and space, pattern, colour and optical phenomena. My aim is to elevate one’s perception of what has traditionally been a direct form-function relationship to an object based experience that challenges our understanding of the potential of the vessel. — Jared Last
Jared Last is a Toronto based artist who holds a BFA in Glass from the Alberta College of Art and Design where he graduated with distinction in 2016. He has had the opportunity via scholarship to study at both the Corning Museum of Glass, and Pilchuck Glass School. Jared’s work combines his interest in colour, pattern, architecture and the unique optical properties of glass to create both functional and sculptural works that subvert the traditional function(s) of the vessel form to generate a dialogue between historical and contemporary glass practice.
Jared Last was accepted as an Artist-in-Residence (Glass) at Harbourfront Centre in 2017.
Raised in Panama City, Panama, Nadira Narine has an interest in her cultural roots. Having lived in Canada for the last 7 years Nadira explores objects and memories from her childhood. Nadira explores these topics for the purpose of self-exploration and a sense of connection to home.
Nadira Narine was accepted as an Artist-in-Residence (Glass) at Harbourfront Centre in 2018.