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| Bertil Vallien |
Palazzo Franchetti is a magificent palace on the Grand Canal where the the Istituto Veneto di Scienze, Lettere ed Arti is located. It was erected in 1565, nearly 450 years ago, and contains all sorts of magical information gathered by the wizards of Venice, France and Austria over the centuries. So, receiving the Glass in Venice award is sort of like getting a special recognition from Hogwarts.
PINO SIGNORETTO
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| Pino Signoretto |
Throughout his long career, Pino Signoretto has developed an international reputation in sculpting hot glass. Amazed audiences all over the globe have witnessed his unique ability to create with molten glass, and his mastery over the fiery material.
On his second visit to Japan, he performed in the presence of the Imperial Family. His sculptures are on permanent display at the Museum of Venetian Art in Otaru. He has produced sculptures for Dale Chihuly in Seattle, Washington and taught in many schools of glass and universities throughout the United States.
Signoretto has the energy of hot glass coursing through his blood. He's wrestled the fiery liquid under control, and tamed it enough to be able to produce magnificent Earthly objects, down to the smallest detail.
BERTIL VALLIEN
Bertil Vallien was born in 1938 (which I find astonishing, since he has the energy of a man a decade or two younger) in Sollentuna, a small suburb north of Stockholm. Raised in a devoutly religious home,Vallien felt conflicted and restricted by the faith being imposed upon him. His spiritual quest is reflected in the profound emotion contained in his sand-casted glass sculptures.
When asked, Why work in glass?, Vallien admitted it was a difficult material to work with, but "glass has qualities that no other material has." Vallien said he wanted to express what was in his head and his heart with his hands, but since it is impossible to touch liquid glass, he creates negative molds made out of sand, which gives him control.
When accepting the Glass in Venice award, he said, "how touched and pleased I am to receive this prestigious prize. All over the planet when you talk about glass you say: Venice, Venice."
After the ceremony, I wandered around the Bertil Vallien exhibition, Nine Rooms, inside Palazzo Franchetti and was overwhelmed. I had the same emotion I felt when I first saw the work of the video artist, Bill Viola, many years ago. Both artists grasp something deeply spiritual and universal, and put their own essence of that understanding into their work.
It has been a long time since I fell in love with a contemporary artist, but I fell in love immediately with Vallien. He has the magic touch.
As I passed through the Nine Rooms, I longed to touch the glass sculptures, but forced myself to resist. Then, in Room 5, where the glass boats were, an older man stroked his hands across a boat. I was pleased to see I was not the only one who wanted to stroke the glass.
So I did.
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| Pendulum |
I was alone, so I pushed them into action.
The glass was heavier than I expected, and the frames supporting the glass less sturdy. For a few moments, I was concerned that I was going to topple them all; that the entire glass pendulum room might go crashing to the floor—or even worse, knock over the Murano glass chandelier hanging perilously from the ceiling. But they stood tall, swinging to the rhythm of the Earth. I thought they looked much better in motion.
He said, no, it didn't bother him; that it was okay.
I said, it's strange, isn't it? That I wanted to stroke the glass, and so did all the others?
He said, it's because it's tactile.
I said, yes, but I've never had such a great yearning -- when it comes to marble, for example -- it is not the same.



















