Preparing for the Experience
The artists invested much up-front preparation in the residency,
sifting through lots of different ideas to figure out what body of work
they would attempt at Corning and choreographing their respective
styles. Millard notes, “We need to know that we can come together
artistically. The most important thing is to be sure that we can listen
to one another without raising our voices so that the product of the
collaboration reflects the ideas of both of us.”
Malcolm reckons that his native approach might be somewhat
freer than his partner’s. “I tend not to be so thorough in document-
ing the method behind a piece.” He had to adapt that approach in
order to collaborate effectively.
The two artists fabricated three test pieces using broken bits of
cameo from Millard’s studio, experimenting to determine how pads
of cameo would affect the shape of larger blown objects, determining
optimal thickness for engraving with the desired effect, and under-
standing how colors would work together and change each other.
“The orange piece pushed us both outside our comfort zones and
gave us many ideas for improving our product. We will have much
more control over our Corning pieces as a result of spending this
time on preliminary experimentation.” They planned to start their
work at Corning by revisiting the orange prototype, improving the
choice of pallets and colors, and producing thinner cameo sections
that are easier to carve.
Malcolm and Millard do not conceive of the Corning residency
as a time-limited opportunity, which makes this heavy investment
and preparation worthwhile. “A two-week residency is the start-
ing point, not a body of work that we complete and never revisit,”
Malcolm explains. “Our plan is to carry on with the joint projects
we start at Corning after we return to England.”
The pair also anticipates that the Corning opportunity could open
up new avenues for their individual artistic development beyond the
residency period. Millard, for instance, focuses on making cameo
pieces. She hopes that working with Malcolm will push her beyond
the zone of a shaped vase to make larger, more sculptural objects.Anticipating Benefit
For Millard, who taught cameo glass at Corning in 2011, the
return to the museum is a step back into a wonderful world of glass.
“I love Corning. The museum glass collection is such a vibrant part
of the whole experience. It is renewing to spend time in an environ-
ment where one is surrounded by glass and by people who truly
appreciate glass and glassmaking.”Allister Malcolm,
through the looking glass,
iridescent bowls,
9"diameter and 12" diameter.
Photo by Simon Bruntnell.
http://www.GlassArtMagazine.com Glass Art TM • May/June 2016 • 17