18 • Glass Art TM • May/June 2016 http://www.GlassArtMagazine.com
The artists were so pleased with the body of work furthered at
Corning that they are making plans to exhibit it during the summer
of 2016 in the United Kingdom. They also left one piece at Corn-
ing to support the museum there —a double overlaid, hand-cut,
fire-polished, engraved, padded cameo sunburst design. “It seemed
only fair.” In summation, Malcolm says, “If any artists out there are
considering applying for a residency at The Studio, we have three
words of advice: Go for it!”Reverberation through an Evolving Industry
The artistic advances that Millard and Malcolm realized through
their Corning collaboration feed possibilities for their individual
and joint artistic development. It also infuses British studio glass
at a pivotal point in its history.
Both Millard and Malcolm sink artistic roots into Britain’s
historical glass industry. The famed Crystal Mile extends from
Stourbridge to Wordsley. More than a dozen glass factories dating
back to the 18th century operated when the two artists began work-
ing, but they have long since closed.
“When the factories were open, whatever you didn’t know was
easy to learn,” Millard remembers. “Materials were readily acces-
sible. Lots of artists congregated here because of the studios, mate-
rials, and glass museums.” Attitudes toward studio glass generally
were not favorable then, Malcolm remembers. “People would be
impressed by our designs, but marketing teams would look at them
and conclude, ‘This is not clear cut crystal. It is just not what we
do here.’ They lacked the confidence to innovate.”
Now factory glass and cut crystal have virtually disappeared in
Britain in response to rising material and energy costs as well as
changing consumer tastes. Studio glass is on the ascendancy,
though many artists, including Millard, find it economic
to rent space at community glassblowing centers rather
than fueling kilns in private studios. Materials and
information are both harder to access than in
earlier eras, and collaborative opportunities
like the one at Corning have become even
more valuable.A Maturing Market for
Studio Art Glass
In the early days of transitioning from
factory to studio glass, British makers saw
a high demand for decorative, functional
objects. Millard and Malcolm agree that
the public has caught up with the art com-
munity in the last decade and is far more
willing to consume expressive sculptural
work. Malcolm observes, “Exhibits at the
International Festival of Glass almost go to
the opposite extreme. Some pieces are deeply
conceptual.”Malcolm visited Corning once 20 years ago as a student. “We
were allowed one day during that trip to do the village of Corning
and the museum, and one more day to do Manhattan. I’m looking
forward to going back to absorb Corning at a sensible pace.” He
is also stepping into the role of a trustee for the New Museum and
will be eager to see how Corning works as a corollary self-funding
facility. “I feel quite privileged that Helen asked me to collaborate
with her. My two young children, ages 6 and 8, both love art and
glass, but I couldn’t convince them to spend two weeks there, nor
could I ever justify the expense with a family to support.”
Reflecting on the Experience
Malcolm messaged Glass Art after the Corning residency with
some images of the pieces he and Millard completed and reflec-
tions on their experience. “What an opportunity!” he wrote. “We
thoroughly enjoyed the two weeks and resolved more artistically
than we ever thought possible.
“Helen and I went to Corning with three possible routes to
investigate in our collaboration. We managed to develop all the
ideas at a phenomenal rate due to the gift of an uninterrupted couple
of weeks to focus, using state-of-the-art equipment and with the
support of an excellent team of staff at The Studio of The Corning
Museum of Glass.”
Helen Millard, sunflowers, cameo vase, 8" tall.
Photo by Lara Jane Thorpe.