#glass artist
Untitled Paperweight from the Memory Series,Yaffa Sikorsky-Todd
encased flameworked glass, 1989
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Late Bloomer, Jan Kransberger
Kiln cast lead crystal, sterling silver wire, 17″ x 5.5″ x 3.5″, 2010
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We made it! Two dozen of our students, interns, staff and board members went to the The New York Botanical Garden today to see the Chihuly exhibit. What an awe inspiring example of glass art at its best. Thank you to NYBG and our funders for making this visit possible.
We came and left with 25 people! We would call that a success. Everyone had a great visit and saw some amazing pieces of glass and beautiful gardens.
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I wanted to be an artist ever since I was a toddler. I think that I am interested in conveying my ideas in any way possible and the visual medium is the best and most direct way I can find expression. After High School, I was in school at Tyler School of Art, I studied both glass and Art History. I always looked at those two disciplines as separate fields. I did the History degree because I thought that was where my career would flourish the most, while the BFA degree was only for the experience; I really enjoyed art-making but never thought I was good enough at it to be able to create a successful career out of my artwork. However, as I went though art school and began to find my way, I gained confidence in myself and realized that maybe I DID have what it takes to pursue my studio practice. When comparing my older work to my more recent, I find that now, my work seems to utilize my research and knowledge of art history as a major part of my research and ideas. When I first started studying glass, I was very inspired by the surrounding city of Philadelphia. Today, I still glean many of my ideas and materials from the urban environment - but my concepts are a little less about city life and more about religion, history, and architecture (as learned from my studies in Art History). I find that my work is enhanced through incorporating my other knowledge and interests outside of glass itself.
GlassRoots) What other materials would you like to work with?
Morgan Gilbreath) I currently work with most any material I can get my hands on, especially found materials. A few years ago, I was making work with dust and dirt from the floors of sites of worship (collected by my feet). My major material goal would be to procure some of the dust from inside of the Kaaba (the black box at the Grand Mosque in Mecca, Saudi Arabia) during the one time a year that the Kaaba is opened and a high priest cleans/dusts the interior room using only a peacock feather. This; along with visiting Mecca (a Muslim-only city) are among some of my loftiest goals for accumulating source materials (both physical and conceptual) for my artwork.
G) Do your sketch your ideas?
M.G.) Yes, I often sketch my ideas as a form of planning and organizing. I also take TONS of notes and do a lot of writing. As artists and makers, I find it very important and helpful to write extensively of your work.
G) How do you find inspiration and avoid artist block?
M.G.) When I encounter artist’s block, I go for a walk in the city. Usually, something seen or something found on the ground during the walk will inspire a new idea for my studio practice. It is also important to have some physical movement (rather than just sitting in your studio) to help ideas come to you. I also overcome artist’s block by going to the library. Researching and looking through random books always help inspire works. Museums, too!
Five years ago, I think that I was very preoccupied with creating meaning and intention in my work. Everything in my work - including color, quantity, and size - had to be symbolic, significant, and metaphorical. I was so obsessed with clearly expressing my ideas that, sometimes, my personal aesthetic (and experimentation) seemed to take a backseat. Now, I am a little less self-conscious about my (still very intentional) creations. No need to over think, just go with your instinct and be true to yourself. As a creative, I think that one of my biggest struggles is my anxiety and stress. Because I am so passionate and driven, I rarely allow myself time off. And when I do, I’m usually preoccupied with the guilt I feel for NOT working every moment of the day. My goal for this upcoming year is to try and focus on enjoying and developing my personal life OUTSIDE of my studio practice and focusing on my well-being and personal happiness beyond my career. I find this is a problem that many dedicated artists encounter and it is important to remember (I keep telling myself this): it is important to have time in which you are NOT working, simply re-thinking, re-grouping, reflecting, and relaxing. It will rejuvenate you so that you can go back into the studio more focused, energized, and bold. No need to over think, just go with your instinct and be true to yourself.
G) What is the best advice you’ve received as an artist?
M.G.) The best advice I have received came from a lecture by American painter Mark Bradford. When asked what advice he had for young emerging artists he said: “INVEST IN YOUR WORK. Prioritize your work over all other expenses. If you don’t invest in yourself and your work, how can you expect others to do so?” Be responsible with your money. I am a very frugal person who lives simply, but when it comes to creating my work, I spare no expense (within reason, of course)!
G) What would you say best defines your style?
M.G.) I think that my style is defined by the use of found/unconventional materials infused with conceptual significance. The materials lists and the titles and writing surrounding my pieces are a key factor in its meaning.
G) Finish this sentence; My art is mostly likely to…
M.G.) My art is most likely to… take a very long time to make.
G) How would you like your art to be viewed?
M.G.) I would like my art to be viewed as a thesis. A tool to draw connections and provoke thought in a way that brings people together. I hope to provoke discussion and idea exchange between diverse peoples and to challenge myself and others to rethink their approach to the world around them. In the end, my goal is to be happy, challenged, and fulfilled by the artwork that I make and the people who surround me.
G) What advice would you give someone considering entering your field?
M.G.) I would advise them that the glass field is a MAJOR sacrifice with MAJOR rewards. It is difficult to maintain a “normal” lifestyle (due to lots of travel and jumping between jobs - and freelance is sometimes required) and it is endlessly hard work. However, if you are passionate about it, there is no other option. The positive thing about the glass world is that everyone surrounding you is as crazy dedicated and passionate as you are, so it breeds a group of incredibly supportive peers and friends.
GlassRoots would like to give a very special thank you to Morgan Gilbreath for allowing us to highlight her work and answering all of our questions! If you’re interested in learning more about Morgan or viewing the rest of her works visit the permanent collection at the Museum of American Glass at Wheaton Arts in Millville, NJ, her website and or purchase an original Morgan Gilbreath original (small-scale) product at morgangilbreath.bigcartel.com.
Potion Jars
Gold and silver fumed give them there beautiful colors.
Fancy Jars
Pretty Potion Jar
Dope Sherlock!!! I love how this one came out I must make more!!!
