Celebrating Lino Tagliapietra | The Maestro's Last Demonstration at The Museum.

lino's already gotten started with the team here over the years i think if there's one thing that leno has shared with makers in the united states is the importance of a fabulous team and i'd like to take a moment to recognize darren dennison who's worked with leno for many years let's give darren a round of applause [Applause] darren's a pretty new corning resident too so he's been living in town here for a couple of years now and so it's great to have leno and his talents here in corning and how about a round of applause for dave walters i i can't understate the importance of of people like darren and dave and lino's career over the years having people that he can rely on people that he's trained personally who know exactly what he needs and when so we're really privileged to be in their presence as well so dave has been working up sort of a marine pattern and they're using this in a bit of an unusual way this is like a color overlay so that's um a grouping of of marine of um strands of of cane which were worked together and now they'll be dropped over the top of the clear bubble to start the color pattern in this piece usually when i'm narrating i can say he's going to be making a pitcher or a bowl or a vaz with leno i think we know lena's going to be making some beautiful sculptural vessel i'm not sure what sort of form he's making but as always with any glass maker with this much experience i'm sure leno has a picture in his mind of what he's going for um i want to introduce the rest of the team as well claire kelly is here helping out claire is also now an artist who lives and works here in corning has a lot of beautiful work in our shops here and it's really great to have claire on deck here helping us out in the in the third main important position at the bench um as the as the the shielder torch wielder another really really important job on the team they're all important of course um and then to round out with introducing the the cmoc crew katherine ayers standing over there by the furnace [Applause] catherine is a long-standing member of the hot glass team here catherine started making glass up at rit she's a graduate of the rit glass program and has been with us for a number of years now it's an extremely talented glass artist chris rochelle right now on the door there chris [Applause] [Music] chris is our precision guy if we want something made straight uh we asked chris to do it if we're watching chris work and you're looking at the screen and you're thinking is that turning or not that's chris he's he's the human lathe and just an amazing glass artist and we're lucky to have him and then jeff mack over here is helping out as well [Applause] and then of course i think one of the one of the things one of the contributions that the corning museum of glass has made to the world of glass is the amazing documentation and sharing of what we do i hear over and over again from people literally around the world how important the youtube channel of the corning museum of glass is and so i do want to take an opportunity to thank primarily brad patoka brad give everybody a wave the man behind the camera and it's really brad's vision and his and his expertise in in capturing video and editing video uh that makes our our youtube channel what it is and um and has really been just so important in in sharing this thing there's nothing like watching a glass maker to get tips it's not something that you can you can draw or you can write down the best thing to do is watch and brad is responsible for a lot of that our social media amanda gave everybody a wave if you like our social media channels [Applause] amanda is the the the brains behind that and keeps our instagram and our facebook feeds going and this is a big institution right we do lots of things the the problem amanda has is is not sharing too much right if you over share then then it's just a deluge of information so with all of the things going on in the museum here with the the library and with what the curators are doing and with what our our um our conservation team is our conservators are doing the glassmakers of course the studio the guest artists the artists and residents and on and on and on and on you can all believe that amanda is in high demand to represent all the wonderful things that are happening here at the corning museum of glass i'm so curious to see what this color pattern comes out to be it's um it's obviously a kind of an unusual application of a marine setup or a setup that traditionally would have been used to make mourinho i'm going to go ahead and explain a lot of the things i'm sure uh ninety percent of you probably know a lot of what's going on so please forgive me if i'm if i'm saying things that you may already know um but mourinho the setup that they made typically is stretched and then used in cross sections so it's broken and used in cross section and actually over on the table marsha is setting up a pattern of marine for another piece that we'll be making so those are little sort of little coins of glass that have a beautiful intricate pattern in them so traditionally typically the setup that darren and dave were helping to create while we were all getting settled in here would be stretched out and then cut up and then used in cross section but in this case they're approaching it a little bit differently i didn't want to embarrass marcia of course marsha webber is helping out as well um doing some setup [Applause] i know we're all we're all leno fans i think marsha might be the biggest leno fan i don't know we could probably have a conversation about that on who's the biggest lino fan but but i i mean the wonderful thing is that every person in this room has 100 respect and admiration for what lino has done for the world of glassheart and it's a real privilege to be able to be here in person watch this i was trying to unpack in my mind what what makes leno's impact on the glass world uh so incredible and um one thing really illustrated that for me um and i i don't want this to come off as disrespectful to anyone before but we were just with a our mobile hot shop we were just at a museum in wausau wisconsin a beautiful museum called the woodson museum of art and at the woodson they had a collection of early studio glass on display so this was glass made from you know maybe the early 70s through the mid 80s right and it was an amazing collection there were pieces by chihuly and marvin lapovsky like a lot of artists that that we know and love and and for me it was really cool to see those pieces you know this was i started blowing glass in 1991 and so these were a lot of the artists that i was looking at and i was studying and it was great to see those pieces in person but i have to say and again i don't mean any disrespect the thing that impressed me my impression from seeing all that work was the scale was kind of small and the color was a little dull and and then it dawned on me this is all pre-lino work right seriously you know leno started coming over to the states coming to pilchuck in the late 80s and he literally taught people how to blow glass here and the impact of that cannot be overstated he literally taught generations of glass workers here how to make glass maybe not directly but certainly indirectly i mean there's no glass maker here our glass making crews is around you know all of us have been impacted by leno directly or somebody who learned from leno and and it just cannot be understated the importance of the way of working the approach to work the work ethic color techniques how to work at scale safely all of these things that leno introduced to the studio glass movement in the united states it literally did not exist before i remember when i was first learning in my instructor at a school in ohio bud hillstone he's like yeah you know back in my day we made sure that we did it all by ourselves and that we didn't share any of our secrets that was the most important thing if you did something cool make sure nobody finds out that was the most important thing and then lino came over and of course he blew that all out of the water you know if there's anything that's important it's sharing what you do if there's anything that's important it's doing it in a team you know relying on your team to help you to help lighten the load to be able to free you up to really express yourself creatively right because if you're if you're doing everything by yourself and you know it's heavy and hot and it's taking a long time and you want to take a break or or you want to step back and focus on the form if you're doing it on yours all yourself you can't do that so leno pretty much single-handedly changed that and and if you don't believe me just look at the work right go find a collection of work before lino and then start looking at what dante marione was doing right whom remembers the whoppers when they came out that was like right when i started blowing glass dante was making the whopper vases like he made these giant colorful vases you know the scale and the vibrancy of the color was unlike anything that people had seen before and we're in the presence of the guy who changed all that right how lucky are we today so leno with that um color package that they dropped on there i'm going to speculate a little bit here but when you do something like that there may be some air bubbles so he's probably working some of those bubbles out he's probably just using the shears to disrupt that color pattern you know to take something that that um and and really give it his his uh his artistic touch one of my favorite pieces when i first started coming to the museum here were the the hopivas do you know those the piece they're red and black with the cane that goes through them and swirls in the color this is this is how that was done and i remember trying that again when i was a a beginning glass blowing student in 1993 in bowling green ohio i saw that piece and i thought gosh i got to try that i still have it it's like this tall it's black with green cane on it with some twists on it i thought i thought i was on top of the world right i copied something that leno did that was before youtube even i'll have you know so i had to look at it and think well how did how did he do this as always if anybody has questions please wave your hand we'll be happy to answer questions or relay some questions again we're going to be here for a while or so we'll have a chance to get to it i i was doing a little research this morning um on lino i watched anybody see this show on amazon the there's a really beautiful documentary on amazon and amazon prime that you can you can watch learned a little bit about leno's career and his life what i was surprised to hear is that lino was um i this i find this hard to believe he could have started drawing his pension in 1986 could have built deck on the back of his house you know decided huh that was a good career nope certainly inspires me right it's fun the really nice thing that that show does is sort of highlight that era between like 1986 and 1996 you know when lino started coming over started working at pilchuk started working with dale hi do you want to do you want to say something oh i'm sorry i'm over here i do have a mic you know what if you want a chance good morning welcome to everyone i think i feel a very special day uh probably today we're not we meet a lot of all friends probably it could be a wonderful day but sometimes ways are too wonderful it's a little bit sad and they i hope we don't tire anyway welcome to coming i hope you have a great day okay thank you bonjourno [Applause] so who came from the farthest today tennessee virginia lots of virginia philadelphia south carolina florida orlando no la la excellent indiana sorry that doesn't cut it how about you ohio yeah very good the other glass city toledo ohio i grew up outside of toledo i'm sorry it's really hard vermont excellent i know we got we got quite a bit of vermonters here quite a few vermont western mass a lot of glass out there well thank you all again for coming for making the trip here there's never a bad reason to visit corning right coming to see the best collection of glass in the world there's always something going on this is an especially good time to be here so thank you all for coming out but as i was saying between that period about 1986 and 1996 right lino started working with dale i think he i think he saw his his his glass horizons expand before him right you see this opportunity um to to teach and to grow and to share and uh and it seems like that's really what drove it right um being at pilchuk absorbing the creativity of young and enthusiastic glassmakers and then infusing that with a thousand-year tradition of glass making and i think you know we were all lucky enough to be around in a time when the world of glass art saw an explosion of creativity like no other time so it looks like they're pretty happy with the the way the color pattern's looking there next step is to dip up some glass to start gathering on top of that to increase the scale a little bit i think if you ask the really good glassmakers what's the most important thing that leno taught you i think you know folks like john kiley have said this i'm sure darren agrees what's the most important thing leno taught you it's how to gather how to gather glass get the glass out of the furnace when you're first starting out you don't give that a whole lot of merit you just think i just want to get in and out of the furnace as fast as i can so i don't burn myself because a thousand pounds of glass at 2000 degrees is kind of scary so we want to get in there make our gather and get out but but there's so much that happens when you cover just a raw blowpipe with glass or when you cover over a color pattern with another gather of glass that really either sets you on the right course for making a successful piece or messes things up so you have some work to do so darren's one of the best in the business at gathering glass and again it seems like something that should be pretty easy but there's so into the furnace couple of turns and letting that drip off there really helps the the coating of glass be nice and even and easier to control if you get too much material on there sometimes it likes to spin out a little bit cooling the pipe we have a little water feature there so that that blowpipe doesn't get too hot but if if you're if you're paying attention you can see that that's already starting to move a little bit um you want to gather on your core bubble when it's not rock hard when it's not ice cold you want to gather on your core bubble when the the heat of that new gather will start to soften it and heat it up a little bit that gives you good momentum to keep on working working with see how that's moving a little bit if you watch sometimes if you're watching somebody they have to give it a couple of reheats just to get the heat back in the core of the piece before they can even start working who else beside me is excited to see what that becomes right isn't that the magic of watching a glass making demonstration well especially with a color pattern like this it's like like we all saw it happen but there's only one guy in here who can imagine what that's going to look like in the end we all saw it happen and just the potential and and just how dynamic and and and appealing this whole dance is where we're gonna sit here in the next 45 minutes or an hour that's going to become something amazing something beautiful usually with our glass makers everybody says well how long that did that take and we said oh that took 20 minutes and 20 years with leno do you say that you know oh that took an hour and a half and 70 years what an amazing career we should all be so lucky okay thanks my cup's right there i'm good though thank you i have to get personal my dad just turned 80 and he is curious and as busy as ever that's what does it if anybody wants to know the the key to longevity stay curious keep working right i think that's it stay curious at least i'm gonna try that i don't know if it'll work for me i'm gonna try it settling down for another gather everybody's thinking oh leno and darren they're talking about what they're going to do next now leno and darren they haven't seen each other for a couple years so they're catching up is anybody heading out to gas after this the glass art society conference in tacoma yeah nice we're looking forward to that that'll be fun it starts next week next wednesday all right here we go with the the second coating gather i guess it's the third gather because they started out with a nice core bubble we've been sort of sneaking back into having guest artists here at the in the amphitheater we had a few this spring but it's always great to be able to bring bring folks in here and to demonstrate we had a really exciting collaboration with the rockwell it's a long-standing collaboration with the rockwell museum where we had a guest artist who did an installation over there her name was rachel hellman she also came over here and did some work with us see this this was unheard of before leno it's like make it gather and the first thing you got to do is slap it on the marble work it hard do something to it and uh the italians said oh no the glass like if you have a nice shape and everything's good just let that heat soak in the most progress you can make is by not touching it you know don't mess it up elena likes to use those steam pads it's a woven graphite cloth and that we keep soaked in water spritz some water on it's a nice nice way a lot of people use newspaper but the newspaper can well it does burn up and little flakes of newspaper go everywhere so that that steam pad is a really nice tool to use anybody have any questions so far how much does that weigh that's a that's a really good question um you know we always guesstimate if we have three gathers on there it's probably 12 pounds 10 12 pounds maybe a little bit more i think i think something that we can all relate to is that glass is about as dense as rock right so if you're out in the yard and you're moving some stones around doing some landscaping and you pick up a rock about that big that's that's about the same weight as the glass so it looks like they're settling in to make another gather on top of this so it'll get a little heavier still of course the thing we always say is that if you have a rock from your garden and you're holding it like this and you're moving it around it's not so bad but if you have a rock from your garden you don't hold it like this and walk around right because it's super heavy that's kind of the situation we're in with the blowpipe is that you know you have the you have the heavy stuff um a little farther away so it seems a little heavier i mean we do things to counteract that right like like cooling the blowpipe to make sure that you can grab the pipe as close to the glass as possible one of the things that that lino has to do is to make sure that he keeps his assistance working so he had to come over here and spend some time getting marsha to get on the ball and do something here [Laughter] of course i'm kidding it's it's uh it there are different sorts of uh of roll-ups that leno can do are our marine pickups one is arranged sort of in a longer narrower format and that means he'll probably roll that up on a bubble or in a collar and then i see on this one lino just drew a circle and that indicates the space that he wants marsha to fill with cane and this is going to be what we call a plunger pickup because you make a glass collar that's the shape of a plunger and you sock it down on top of there right and it just arranges the mourinho in a different way on the piece when we're done these look like like color cups that have been squished together they're sort of sort of like tiny little mark rothko paintings with with these fields of of rectangles of color i thought another really interesting thing that was stressed on that that um that movie about leno was the fact that he was able to view um works of art that were displayed at the venice biennale at a sort of an informative time in his career and i think that exposure to to different visual arts i mean you can still see it in the work just the interplay of colors and forms he was looking at sort of abstract expressionist art at the time and it's it's just neat looking back right to know that those sorts of experience have influenced the way that lino works and the way that he approaches the color i think it's easy to it's easy to underestimate right like you see well and it's it's what makes lino's work so special i mean you see a lot of people making work like lino but you can always pick it out right there's always something something that's just not quite right you know you can make the form likely you know you can use mourinho you know and kane and you can apply it the same way but there's something wrong there's just something missing and and that really that that awareness of color and the interplay of color and texture and pattern it all combines to create work that's just sort of transcendent so the color pattern's set right so now now they're getting get into business here inflating shaping setting up the bubble setting up the shape of the bubble to get the form that he wants making sure that the weight in the material is distributed how he needs it as always our wonderful view inside of the reheating furnace here it never gets old i love it i love it you know what i love most about that is that it's because we're in corning that we can see that sometimes you don't realize that when you come to corning you know in this building people have made glass since 1951 in this town people have made glass by hand for over 150 years right here in corning right so i all the glass makers who work here are are part of that legacy 150 years ago more than 150 years ago in 1868 glassmaking moved to corning just think of any other town in the united states that has that kind of history of course it pales into comparison to murano so like we can't toot our own horn too much but hey for the states it ain't bad right 150 years that's that's a lot over here but to be able to have corning incorporated in town and to um to well first be responsible for founding the corning museum of glass in 1951 but to still support us and to to do special things again like that like that view inside of the glory hole that's a high purity fused silica it's glass that's made with chemically pure silica fused together at 4 000 degrees made in upstate new york not in corning here but it's made in upstate new york and gives us that nice view inside of that 2000 degree furnace now there just use the marver there that steel top table to um concentrate some glass at the bottom or to chill the glass at the bottom to set up a stable base for this piece and using that torch getting some heat back on the top darren's already working up the punny over here is that a punny darin i'm right here sorry my voice is that yeah yep so when you're making big work you have to make big punnies so darren said he's setting up the core the core for the punny so he's making that pipe a little bit bigger with a gather of glass and they'll let that chill and then put a light skin of gooey glass on top of it when they get ready for when they get ready for uh transferring this piece but but you know again part of the part of the magic of working with lino and and working with a lot of italian glass makers but of course mostly leno is is just that process right and that is making sure that you have what you need when you need it sometimes i say glass making has a tempo it's a little bit like like music you know and if if the tempo is off it just it just is wrong it's harder right and so um making sure that the team anticipates your needs is what helps keeps you on keep you on tempo so yes is anybody else visualizing in their mind how this is going to go what it will turn out to be i am oh god all right i think i can see i think i might know what's coming up but i i don't really know so i'm not going to say anything but i'm certainly thinking about it i don't know hey that's part of the fun for us is to watch it evolve do we have a question or a hand you good oh you're lucky you have a you have a gallery guide right behind you i called you out now you have another question answer in the crowd any other questions all right this is a big weekend for us we have our exhibit past present opening it was delayed by a year so it's been a long time coming too we're excited to see that opening this weekend just gave that some length they're stretching out a longer neck on getting some volume in the bottom now start to see the color pattern coming out a little bit more down there hey sally no we're gonna have everyone hear this so does everybody who knows sally praj one of the most talented flameworkers in the country [Applause] sally was just telling me that she was at pilchuk in 1979 when lino came there and that of course everybody was making blobs and lena was making uh amazing venetian style goblets uh and you know of course everybody was floored but but the thing that impressed sally is how gracious he was as an instructor even then you know that he took the time to to help everybody out yeah of course i think leno knew he had his work cut out for him then he's like i have to start helping [Laughter] that's a great it's a great story and it's a story you hear over and over again and that's that's what i mean we all admire lino as an artist some of us have been lucky enough to to experience and to be around leno as a mentor and as a teacher teacher and for as much as we admire his art um you know i think glassmakers are just forever forever grateful for him showing how to be a great gracious teacher how to be a giving teacher and that teaching isn't just telling teaching is showing showing people how to do it showing people how to behave i think the the the grumpy yelling glassmaker demanding gaffer um leno showed us that we don't have to be that way right that we can be patient we can be kind to our assistants and we can still have good results everyone has worked with leno has always said you know he always has the interest of his team in mind first it's fine on a piece like this you can really see where the heat is you know because of the color now he they spent some time in the beginning or a little bit ago stretching that neck out right so they had the whole thing hot and boy dave was really turning because it was hot all the way up to the pipe and they worked on stretching that neck portion and getting it longer but now that part's a little cooler and it's a little bit easier to handle and they're working down towards the tip of the bubble and getting getting the form that leno envisions okay so over there okay it's starting to work uh work a little bit on the looks like kicking that bottom out a little bit reestablishing making sure that bottom is nice and round and flat or i said darren was the was the gathering guru there's nobody who works the marver quite like dave does especially with heavy work i stayed what he was doing how long he was staying out he's like oh i have to go back on sunday i'm helping nancy callan make some work on monday staying busy nancy of course worked for leno for years and years sometimes the when you when we're using the glory hole the reheating furnace right you can you can eat the whole thing really well or you can heat the bottom half really well but sometimes you need a little extra heat in a in a certain spot so they're using the bench torch to do that so hey here i don't know if you can see it i can see it from here with that extra little heat on that shoulder down there he's getting a little bit of a counter counter sway so as he's flattening it he's having darren blow a little bit and cap the pipe to establish a little asymmetry in that cork paddles that's you know one of the one of the greatest tools that you know leno has really shown us how to use the cork's just so nice because it doesn't mar the glass at all doesn't mark it up it's asking jeff to blow softly and then they're working towards the punny so darren has made a hot gather on the surface of that cold glass core that was established and that's tricky right you want that to be hot enough that it will stick on but it really needs that stable cold core underneath so that when this goes on to the punty everything will feel stable so they stuck that on there pulled it back a little bit you can see there's just a little bit of an indentation there where the punny meets the bottom of the piece i love this move now watch these two guys work together open the gate for lino in sync right and then close it that's one of those little things you're just like what just happened all right so now darren needs to be ready they don't want to wait too long they'll let the top of that piece get too cold that it could crack darren's giving it a little wiggle to make sure that it's stable make sure we're ready for the for the a transfer bit of water bonk and there we go [Applause] anybody want to take that for darren any takers [Laughter] when when everybody asks you know is that heavy you know if it's cold you know any of you could pick it up you know but i challenge any of you to do that right to feel that torque right because you're not just picking up 15 18 pounds you're picking it up all the time every time you turn you're lifting that weight up all of that weight that makes the forearms burn so sally took a class with leno who else has taken a class with leno here bob jen good to see you guys i took one class with leno i know jeff has i was so excited um when i got into a class at the studio with leno i was working here and i'm like yes it's like i won the lottery awesome thanks amy i still appreciate that when i was not to make this about me again but when i was a student at bowling green state university in ohio and i thought man i want to go to pilchuk but i can't afford a flight or man i'd like to go to haystack but whoo that's a long drive and then corning started teaching classes and i thought oh my gosh how lucky am i it's a day's drive it's affordable they're the best artists in the world coming here i am going to corning and i started i took my first class at the studio in 1996 and they clearly have not gotten rid of me yet there's still time thank you yep i you know what we were talking earlier about what motivates you um and so that can also motivate you right [Laughter] curiosity motivates you but no i i feel privileged to have wound up here and to ben have been able to spend time not only with leno but you know hundreds of other artists and and and just as important thousands of students right because there's there's no one who's working in the world of glass who you can't learn something from and students collaborating learning together taking risks together it's just such a wonderful way to grow and we're so lucky to have that right here in corning so they're working some heat back into the neck of the piece starting to stretch it out they made a little kind of a little handle on the top right that little button on the top something to grab on to we're making some room for ourselves working outside of the bench now right when you're when you're blowing up the piece it's good to be in the bench when you're finishing it it's nice to be outside of the bench i like how you know that torchwork earlier on the blowpipe established that little counter kick on the one side and now we can start to see how that's going to help balance the piece as the neck might get longer and longer here i'm just gonna grab these so doing a move like they're doing it's something you kind of have to sneak up on and make sure that your your heat is just right for so darren's cooling that little knob on the end that's a handle they're going to be grabbing onto and they're working on establishing heat through the neck of this piece is it all right all right again just testing this out so oh all right here we go sorry sneaking up on it getting the heat just right with a little tap we don't clap until it's in the box all right we have the big oven zone over there and there the first one is in the box everybody big round of applause for lino talo pietro [Applause] [Music] all right we're starting up the next piece so before too long you can work your way back to your seats french so all right so just to get everybody up to speed here um darren and dave are working on setting up the background color for this next piece this is going to be the marine pickup that that marsha just established here so this is on a let's see gaffer glass old carmine red g170 so beautiful bright fire engine red i think this is probably the same color here look at that that's a that's a red glass to envy this is a this is a hard glass a hard color to make that's a beautiful color and and a color that you don't typically see usually if um i mean even the the glass companies that have made colored glass for years and years if they try to make a red like that it gets a little livery looking and i don't know what it is about it but the formulation it likes to go livery and even if you are able to make a really nice red bar like this when you're working it and reheating it and applying it and reheating it again and gathering over it and doing all that it can it can change right you don't always get exactly what you see so so darren and dave have to know how to work the color especially with a red like this it's not just a factor of of you put it on and use it and everything turns out fine you you do have to know how to use it especially in the case of this color so they're working towards picking up the marine setup that marcia did um these are are they did you orient these all in the the same way are they it's random so these are the marine that we're using here and it's a a white pattern cane and it kind of looks like a feathered pattern so nice fine white lines and so when you pick up a a marine pickup like this they're going to be forming a sort of a cylindrical bubble and then rolling the mourinh into the surface of that cylindrical bubble so jeff mack has in his hand there a pie divider we call it this is all glass maker's claim to fame that we can do math right we don't have to do it in our head or on a sheet of paper or with a calculator we use this special tool um and what you what you do is you measure um you measure the diameter of it and then you get the circumference on the on the one side so you use the caliper to measure the diameter and then the other side gives you the circumference of the bubble so as you roll the sheet around it's really important that the two ends of the sheet meet together so that you have a consistent pattern all the way around the piece that you're working on so we're going to be using the pi dividers to do that so they know how much glass to gather up they're going to be heating up this the cane pattern the cane pattern is over here in the garage we have it parked in the garage over here um it's on the end of this this fork called a pasterelli and the the cane pattern is on a on a sheet of kiln shelf so it's a ceramic uh a ceramic sheet and you put the mourinho on that you put a release between the ceramic sheet and the kiln shelf so that the marine don't stick to it as they get hot and so the the trick is to heat up the marine enough that they're a little bit malleable that they'll wrap around the core bubble but you don't want to get it so hot that it sticks to the plate right they can get super hot and then start to melt into the plate and stick to the plate and then yeah that's that's a bit of a problem you get crud off the plate worst case scenarios it sticks to the plate so this is another one of those things that you know leno really did teach um a lot of glass makers in the united states how to do how to do that right it's a very old venetian technique you can see it in the 35th centuries gallery here pieces from the 16th and 17th century where they use cane like this but i can remember when i gosh you guys are going to think this is just eric talking about eric but but when when i was in school my first instructor taught me how to pick up cane out of one of these things where you just arrange the cane in the in the things and then you stuff a bubble down into it and that works you know you get cane on something it works but it only really works if you want to make something that's like this big so if you want to make something bigger it's hard to extrapolate that onto a bigger mold right and so being able to pick up kane and mourinho off of a sheet is really important my first my first glass employer was a guy named mark matthews who makes beautiful glass spheres marbles and he made all kinds of patterns using a mold like that or also using they do have a thing that's a called a cane marver so it has kind of grooves in it that you can lay the cane in it but picking up off a plate is a is a very versatile way to do a picking up off of a kiln shelf like this but again you have to make sure that you get the diameter of your bubble or the circumference just right the diameter so that it matches the circumference so for for the the glass makers among us the we are still using a glass formula called system 96 uh 2.0 spectrum nuggets it's a glass that they haven't made for about uh three years now but when we knew that they were going out of business we bought two truckloads of it so we're still working through that and um and we're we're going to run out of glass at the end of this summer so we're looking for our next glass we're deciding the glass that we're going to switch to next but we've really liked working with this glass it's a nice clean glass it's easy to melt it's collet right so it comes in nuggets it's not a batch batches all the raw ingredients mixed together that you scoop into the furnace the color is nice because you just have to re-soften it you don't have to really get it hot and really fine it out but we're going to be switching glasses soon we're also going to be switching furnaces soon the main furnace how many of you were you how many of you were here for the opening of this amphitheater that was just yesterday right nope [Laughter] we lit that furnace in 2015. uh so this uh this shop's been running for a few years now i was really happy when lino came here and he's like this place looks like new right we we like to keep it up this is a beautiful shop and we really respect it but it's getting time to replace our furnace our main melting furnace there so um after um after all these years which seems like just yesterday when we opened this place up it's already time to change out the pot in our furnace you're all friends right i can tell you what happened we ordered our new furnace the truck that it was on had a rollover accident in montana so so we're going to have to wait a little bit longer for our new furnace i hope so too i i hope the driver's okay too so unlike a lot of setups in glass you um lino has very much a cylinder here usually glassmakers set up a shape kind of like a q-tip but this is very much a cylinder because we're going to be rolling up a sheet of glass did you have a question what color will i'm not sure it'll be a lot of colors um they they used a lot of different colors i can ask dave what colors they had the question was what color will the piece that they finished be dave do you know the primary colors that you had in that in that mariney okay with overlay colors not not this one the previous one yeah yeah but any any major colors in there mostly purples so the the last one um the setup was mostly purples but especially with that one you know it's not only the colors there are many colors in there but it's also how they will interplay we're really not going to be able to see until until tomorrow this this will make the reveal really exciting right because that one that one's really going to change it'll really be different tomorrow than it was was this evening same with this one right because red glass never looks good when it's hot when the red glass is hot it always it always looks looks like liver or brown so both of these pieces will be really different tomorrow all right where'd you go yep what's your question yep so whenever we make a piece when we're doing our live streams we always make sure that when we publish the video we have the piece on the video and then the piece that we make today or that lino made today will be revealed tomorrow and i assume amanda is around somewhere that if you watch our facebook or especially instagram that you'll probably see it there yeah that's always the most common question and we've really made an effort whenever possible especially with the youtube videos um we like to like have a thumbnail or make sure that the piece is available to view so we never publish our youtube videos until a couple of days later when we'd be able to bring the piece out of the oven and get a good snapshot of it so again i'm not exactly sure how we're going to be publicizing this i mean we we wanted to to stress the importance of being here and experiencing this live so this isn't live stream but we do hope to be able to share some of this on on youtube yeah what will become of this piece well i would imagine like a lot of lino's things that it will be sold um i i the the work i i really don't have a say in that this belongs to leno and his team yep so uh there there is an event tomorrow morning uh to reveal the the work that's been made all right so they are made probably the final gather right and make sure brad gets a good shot of this so there's the pickup right around and button it right up there so that's duro white the white's very thin but it's very strong this these dural white colors even when they're stretched really really thin they still stay very vivid you can pull out a piece of dural white thinner than a hair and it still looks white a lot of the a lot of the white colors especially when you pull them out really thin will sort of fade away i'm just getting those marine pressed in there now i'm not sure if he'll heat this and melt it in and gather on it again or if this is all the all the glass that they'll need for this piece all right but it will take some time to heat and marver that in uh those uh marina those chunks of white glass picked into the surface are colder and you can see there's a lot of relief a lot of texture on the surface and before they start to inflate this and make it larger you want to work that out so they're going to be using the steel table they're going to be using the marver a lot to smooth that in my favorite leno pieces are still some of the first one i saw in person so i went went up to um a gallery in detroit and saw some alino's work on display for the first time and he had a piece that were it was a transparent like a really light blue and it had canes on the surface that were raised like he kept the texture in it and when he he did that he just he didn't marble it he didn't work the cane into the surface it just stayed raised on the surface and then when you blow it out it bends the glass in between so it creates these lenses in between i don't know what that body of work is but boy they're still my favorite the first ones i saw in person i just remember seeing that piece and just seeing how evenly the cane was spaced and the the way that the the wall thickness bended bent the light it was just magical still some of the most simple pieces that you've made it's kind of my aesthetic though you know very very understated colors very simple colors but beautiful forms as always as they're doing this you kind of have to be patient if you just keep heating and getting it hotter and hotter the the core gets kind of squirrely you really want to heat it try to soften the surface marver it a little bit and let it cool down let the core stay stable to work work the marina into the surface i feel like this has been the first really nice weekend corning if anybody's come here and they think boy corning is just beautiful just know that winter ended last week and you all brought the good weather and we appreciate that it just feels like the stars are aligning for this week i mentioned we were with the mobile hot shop with the mobile hot shop in this museum in wisconsin this last week and um we definitely had sleep the first couple of days but but then the weather turned around up there and it was it was so much fun so much fun to make glass in wisconsin we were at a small museum the woodson museum is a small museum they have a dozen employees and in the week that we were there we saw 10 000 guests and they all they came out to see the glass on display the woodson was showing glass um but that's the the power of live glass making right they did a great job of spreading the word that the mobile hot shop would be there and we were just so proud to be a part of that that's a you know a very important weekend when a when a museum like that can get 10 000 guests to visit in one week that that's a huge impact and we were we were in wisconsin about 10 years prior at another museum called the bergstrom and there was a gentleman who visited us and he said eric i remember watching you make a you made a dragon stem goblet and then you made a he had notes from 10 years ago that he brought back and he told us what we were making and who was working i couldn't i could barely even remember what year we were there but that was so much fun it's it's fun to know that you know doing what we do here in the museum we have an impact on all the guests who come through the doors and see glassmaking for the first time but to have the privilege of taking that on the road it's so much fun for us to be able to do this kind of thing that you're seeing here we're going to be the mobile hot shop is is just arriving in tacoma this morning it's barely even morning there but the mobile hot shop is arriving in tacoma today it will be hosting artists out there i'm also very excited we're going to be going to the fenimore art museum in cooperstown with the mobile hot shop in july this year so that'll be that'll be fun too there's so much going on that's why it's great to keep in touch with the with the museum and what we're doing i know a lot of you are our members i think probably the majority of you are members and thank you for that many of you are anyone members and an extra big thank you for that you know you really help keep this museum going but our advancement team has been doing a wonderful job of keeping our members and our indian members informed of all these cool things that the museum is up to because it it really is a lot and and it it's all over the place not just in corning but around the globe that the museum is having an impact and we certainly appreciate everyone's support in that but you know keep keep an eye on those emails you never know what's coming up and keep an eye on our social media to see pieces like this when they're out of the ovens you know to see that transformation that happens when the glass goes from a thousand degrees when you put it away down to room temperature i've talked a little bit about how this place has had an impact on my career and my aspirations in glass it's just so exciting to see what happens next year one thing i love about this museum is it's never boring we're always up to something and just the way that the the museum has integrated this live glass making programming into the exhibits that we do and the glass that's on display and the way that the studio continues to expand their programming and give thousands of people an experience and make your own glass every year and have students from around the world coming and ever expanding artists in residence program it's just so exciting because because the museum really has an impact on on where glass is going you know we're not just reflecting on what's happened in glass in the history of glass like you might expect from the museum the museum's having an impact on where glass is going i mean just to have lino here to have young glass makers here to see this and to be inspired to find their own creative path such an exciting place to be and again thank you all for being part of that and helping to support us getting some stretch going on there again they're working on getting the neck getting the top part the part that's closer to the pipe stretched out because they can always work the heat down towards the tip but they need that heat in the top to get the height on that piece still inflating we've been using these auto inflators for two years we have these little um little tubes with a foot pedal you know when we're wearing masks to inflate the glass so we always rely on the bench blow right so you can inflate the glass as you're shaping it but we've been using these auto inflators for for two years and you know i thought as soon as we took the masks off everybody would be like oh thank goodness we never have to use those things again but it's funny like even the people who were dragging their heels the most about using them are still using them right because there are things that you can do with those inflators shaping the glass and inflating it at the same time that that just make make it easy and they make they make some things go a little bit quicker so it's just a compressed air that comes into the pipe through a tube if you haven't seen it and there's a little little foot pedal that you tap on the foot pedal obviously leno's not using that right now he's communicating with jeff the way that italian glass makers have done for hundreds of years there they've gotten that scale nice up nice and big there nice round form and get the corks back out now when you're using the corks if you watch the watch the pole turner if you watch dave sometimes he'll put his thumb over the end if you just push it flat it'll kind of pucker in in the middle but now jeff has his palm over the over the pipe and that keeps it sort of uh gives you something to push against and keeps it keeps the form more rounded foreign so you can kind of see that pattern on there they're like little little feathers it's a bubbles of glass that have been folded and pushed together so i say bubbles but it's kind of like a if you imagine a white cup and you fill that white cup with glass and then you push it flat and then you fold it and then push it flat and then fold it so you're you're creating layers of this veil of white glass that have been pushed together look at that camera work that's great and then you know through that marvering and blowing process they flatten out a little bit and just have created a lovely lovely pattern on there 4k video you got to love it right hey bob jen do you remember looking at grainy vhs tapes and trying to figure out what the heck lena was doing it's a it used to be like grateful dead cassettes that you shared them like oh it's leno haystack 89 you have that one one of the first so i said my my first employer was a guy named mark matthews he gifted me a hand-drawn book from a workshop at pilchuk where where lino was so a guy named alan goldfarb a glass artist who formerly was in vermont hand drew a book and uh and had it published and that was that was my bible for years looking at alan's book of leno's workshop so i didn't take the workshop myself but i got to look at allen's hand-drawn notes from that that workshop and that was probably a workshop from 91 or 92 or 93 i'm not sure there was dick marcus there was also notes in there and drawings from dick marcus and i think karen will bring two oh there's that move again opening the gate all right now this one's not quite as scary right it's it's a little more manageable it's not quite as large as the other one but still i don't think any of us would want to be taking this on the penny right now darren's still the guy for the job yep [Applause] everything's scaled down a little bit the punny is a little bit smaller that last piece had a big heavy pipe you know the the the diameter of the pipe itself is probably an inch and an inch and a quarter or so and so it's easier to turn when you're making something a little bit smaller if you had a blowpipe that big the pipe would outweigh the piece right so it's unwieldy so they're using smaller pipes to make this piece that's a little bit smaller in scale looks like jeff is working up a little collar on a blowpipe dante made the mistake of stepping into the limelight like if there's one glassmaker who's been influenced by leno it's dante marione can we give dante a little round of applause too thanks for coming out dante it's good to see you i think dante was the first one who got it right he's so he's the first one who's like wow this is special what's happening here i'm going to be a part of this ready very nicely so they're going to use a a neat technique on the top top of this one to pull it out jeff has made a hollow post so this is a little bit of glass on a blowpipe so the last piece lino made a little cold nub to grab on the end with but this this time he's they're going to be using this blow pipe so they stick it on the hole on the opening and that'll give them something to pull with to give them a a very nice opening on the top of that it helps get the nice form if they need to they're on a blowpipe they can give a little puff through there see a little blow to help get just the perfect form you can see the volume expanding at the top there this is kind of tricky because when you get an opening this small on a piece you can see it was cold enough it just snapped off there [Applause] but they want to be very careful not to overheat that now there's a pinhole in there right and you don't want to close that off if that closes off and you have a sealed bubble and it's heating and cooling that could puff up and then it could hey michael beam go change it tom we're low on o2 here so we got to go switch tanks in the bank in the back always happens at the perfect time right there you can see that nice little opening gotta be real careful about the heat now i don't wanna heat that up too much oh a little more volume the devil's in the details here right like um making a form like this like getting the basic form is is is kind of easy but now is the point where if i had this piece on the pipe where i would mess it up right because it's starting to get thinner you know we're still working the form it's kind of roundish on the top and kind of flatish on the bottom and they're going to work to reconcile that i'm assuming and that's a hard thing to do it's hard thing to do to get that to all come back into a harmonious form from the foot to the tip it's all about controlling that heat so he's working that back down and so if we're on the blowpipe remember earlier when jeff had his thumb over the pipe it prevented that sort of pucker from happening that indentation from happening now they're going to have to deal with that in another way but these are really the finesse touches on this piece and on all of leno's work that just makes it makes us so different even dave spinning a little faster i don't know if anybody caught that a quick spin right that's helping a little just the right amount of puff to bring that form back out so yeah that's a pretty one remember that cup on the table over there that's the red we used in the background with duro white marini all right now jeff has got his space suit on kevlar gloves boy that form just resolved beautifully [Applause] all right into the oven it goes all right and there's another one in the box big round of applause for the team making it look easy so lino had enough of a break i guess that means we all did so we're getting started again with the next with the next piece here not to interrupt here but so darren's over here um working the the marine setup together so when you lay mourinhe out there are naturally a lot of little gaps in it and darren is heating this and then squeezing it together we have some special round um squeezing tools where he can work that marine pattern together a little bit to work some of those gaps out and then lino is creating the plunger that they'll pick these mourinho up with the mourinho over here all right we got the thumbs up over here from darren so it looks like we'll pick pick up on the second bench oh you're going to pick it up at the main bench so darren's bringing this mourinho set up over and then got the plunger at the right temperature here you don't want that plunger to be too big you don't want to waste any of the marine pattern on there those marines were pretty thin too so i got to be careful reheating these so they don't heat up too much and start to stretch apart so they'll slowly work that into a nice cup form from this flat sheet into a cup i want to make sure that's sealed up around the edge okay shot i don't know what just happened but our expert glass maker and manager of hot glass programs jeff mack was just running the steadicam thank you jeff that was great although i do have to point out that uh our friend jason thayer is up in the booth and i don't know if jason used any of jeff's footage there but i'm sure it was spectacular bigger bigger so it is a bit always a bit of a uh work just to get this marine from that platform into the little cup form so right now they're working on heating the rim the other thing that's tricky about this is that the clear glass doesn't want to get hot um the the color glass gets hot immediately where that clear glass plunger doesn't really want to warm up it doesn't want to absorb the heat like the color glass does the sometimes we say the colored glass is like wearing a black t-shirt in the sunshine right it's just it just loves to suck in the heat it loves to absorb that heat and so that the same is true here where that colored glass is absorbing the heat and leno just used the hand torch on the plunger a little bit he wants to start bringing that in a little bit more again to make that cup form right so it's using the wooden block to compress so as i was mentioning there's lots going on this weekend really excited to open up past present the major exhibit for the summer will be open to the public on sunday there's some members opening happening over the next couple of days but it'll be open to the public on sunday and it's it's a it's a a really exciting look deeper look at some of the objects in our collection and and i'm it's one of the great things about working here is that you know you can see the objects but the longer you work here and the more you talk to people about the things the more stories you discover about them and past present is is really a a wonderful way to express that to to the general public it's those deeper stories that our curators love about the objects and and how they came into our uh into our collection and the stories about the pieces before they got here and their continuing stories they have and the way they impact uh people's lives just a deeper look at some of the some of the most treasured things in our collection and i'm really excited for that ex exhibit to open and for for our guests to experience our collection in a different way so it's called past present it's in our changing exhibit in the 35 centuries gallery and again it'll be open to this the public on sunday i'm sure a lot of us will a lot of you will see it before then through some of the events happening this weekend there's another big anniversary in corning does anybody know the other 50th anniversary in corning this year the flood yeah i forget does anybody know the day what day was the flood i should know this june 23rd okay so on june 24th we would have been over our heads in water here in the museum i don't know if any if you all know that or not but we had a pretty major flooding corning so there's going to be some museum we'll talk a little bit about the flood this summer junior curator's exhibit will focus on that june 23rd i just heard too that anilio's the pizza shop in town opened on june 22 1972. they literally opened the day before the flood i didn't know that but enelio's our favorite pizza shop in town is also 50 years old all right so work that into a little cup and they'll i'm guessing probably put a gather on this whole thing we can see that nice pattern boy i just realized we didn't turn on the tv for you guys sorry balcony crew we usually have those ones on it's just been so long since we've had guests like this so so it looks like we got our oxygen tanks changed that hot torch has been it's been a real revolution in the glass shop too um you know that's not something that you would see at a typical bench glass makers bench 20 25 years ago but now almost every glassmaker needs a hot torch at their bench and that's a lot of different influences flameworking has influenced the way we work glass here there's an artist named martin jannecki who is really sort of revolutionized sculpting glass bubbles using that hot torch you'd always see people using the map gas torch the one with the tank on it and everybody thought that was cheating but somehow if it's the one at the bench it's not cheating anymore it's a new tool and we're all excited about it all right so they got that worked down they've got the texture worked out of it so it looks like they're getting ready to take a gather on that to give it a little bit more mass to make something make something nice out of this is the marina earlier i was talking about the the rothko kind of color blocks so they're they're again if you imagine a colored cup and you imagine filling that colored cup with clear glass or even colored glass and then sort of squishing it flat it makes those little little rectangles sometimes you get tiny little bits of kiln shelf stuck on your marine nobody saw that i'm just using that it's a little dremel tool with a diamond bit to to scrape away some of that kiln shelf that might have gotten on one of those mariney sometimes especially those soft colors the soft colors are exposed and especially the soft colors like to like to get a little bit warm and and pick up some of that that kiln wash you don't want to see that in the final piece so so so okay so they're gonna cover over that jason you can't play the gather animation can you if it's a problem oh here we go watch this i'm i'm really proud of our digital team put this together for us this is an animation of uh that we share with our guests that show what it's like to dip glass out of that furnace so it's an animated cutaway you can see what happens you dip the pipe in there twirl it around there's a big vat of molten glass in there and it's very much like gathering honey out of a dish i've gone over to the studio and i've seen bill gutenrau's glassblowing classes where he has a dish of honey out and a chopstick and you can practice keeping that honey on the end of the chopstick by twirling around glasses very similar sometimes i say it's like honey that you left in your refrigerator it's a little thicker than honey harry your when did the class session start the summer yep june 2nd night june 6th nice who are you looking forward to who's coming this summer everyone i know you'd say everyone but if you had to pick a couple i know i know it'll be a great lineup this summer there's lots of great artists i know nancy's coming back right nancy cowan mel douglas michael shunky will be here with josie glook so as always an amazing lineup of artists coming to the studio this summer these things that we all took advantage or took took for granted a couple years ago having guest artists having residents having in-person classes goodness sake it's so good having you know i don't know i'm gonna guess what 300 people here with us today uh these are all things that you know we're just sort of running the mill for us but after two years of not being able to enjoy them gosh it's good to see see they're all coming back you guys know if you stand up there you have to sing for us that is a performance platform josh you got any any tunes in your pocket all right so they've got that nice pattern all squeezed together gathered over inflated a little bit and now though dave's working up i think dave's working up a punty uh so they'll want to have this on another blowpipe to form the piece with that big collar it's really difficult to make a nice form when you have that that big plunger collar up there oh [Music] wow dude and i realized i'm really good at copying my bubbles now that marie at the top you want to cut some of it away that's right where it was attached to the plunger and the marina can get sort of folded over and a little muddled up there so lino's just using the shears to cut that off and then darren is over here on this bench and he's preparing the the blowpipe to form the piece so we just took it off of a blowpipe but we're going to they're going to put it on another blowpipe which will help them get the form that they're looking for a little more easily the plunger the pipe that they used to make the plunger and pick the piece up was a smaller pipe too this is a little bit beefier pipe to make the piece a little bit larger another thing i think that was really important about watching how leno works was the fact that you could take a bubble and you could take it off of a blowpipe and put it back on a blowpipe and maybe switch an axis and maybe put another bubble with it like doing this in calmo that was really something that wasn't done a whole lot in the states before lino came along you know it's like you gathered the glass on a blowpipe and you made a piece um but you know the this switching it switching accesses adding bubbles doing all that kind of stuff was really something that we all learned from leno um [Music] forget about that you see how much closer that color package is now to the blowpipe than when he had all that clear glass on the top from the plunger pickup i'm just getting the punny mark out of the bottom with that hot torch i have a pipe large enough i'm going to guess they'll gather on top of this a couple of times now i'm going to ask one more time anybody have questions for us you're all pros yep whoops what's that some of my goblets oh my gosh in my house i made one recently um yeah gosh you're guilting me i i spend yeah unfortunately too little time in the hot shop these days hi sally let me come a little closer here i'm sorry okay i'm down here well that's a good question when when did they start using torches in italy that's a great question it takes a flameworker to ask a question like that sally you mean the hot torch or the fluffy one or any of them oh really even at pilchuk in 79 you guys weren't using torches so yeah yeah right right leno said that that he'd actually seen them using torches earlier like in the 50s on murano but they would be like the tortures that the plumbers would use to sweat you know copper together and things like that so um but still wasn't common for a very long time the other thing i want to know is who's who the first first guy is to shape glass with newspaper like who thought this was a good idea it's a great idea but who thought it was a good idea the first time i mean it's a it's one of those things it's like they were a genius but they probably thought they were a madman oh yeah let's shape 2000 degree glass with newspaper that's a great idea hey marshall the arc our furnace what's the capacity same yeah this is a thousand pound tank and we're getting the same thing yeah we're gonna do the same thing again it's worked out nice for us um there are i mean plenty of days you all know uh that we don't use a thousand pounds of glass a day but there have also been you know more than a handful of days where you know that's that was just enough to get through the day um so we're we're sticking with a thousand pounds we did a we did a project recently that i'm really excited about it's just happening now we worked with a artist from new york city named virginia overton and we did a series of gigantic spheres that were just installed at the venice biennale so we made them all right here and it was really wonderful to have to have the team and to have the space and to have the expertise for this artist from new york city to reach out to us and say hey i've got this project and we want to make it happen and to to be able to do it here and they created the pieces up and airlifted them to uh to venice and so we've got some glass and that was an instance where we made these large scale pieces and we made a lot of them over over just a few days and we really did need our thousand pound tank for those lino's done a couple runs in the shop here and of course he always pushes the limit of your of your studio so i mean we we really built this place to be able to accommodate things like that um so this is a wonderful comfortable shopping to work in day after day but it's also designed in a way that you know when we're making larger scale pieces and making more of them that we have everything we need to do that safely and efficiently almost looks like an animal print right now those are a lot of transparent colors in this one i saw some blues and purples and some amber colors these marine it looks like marsha used them all they're all gone one left one fraction of one left oh there's some yellow in there some nice blue and some yellow pretty nice looks like another dip getting set up for another gather here you might have heard something shift back there um when we're when we make something and there's glass lift on the blowpipe the the glass eventually just sheds away from the pipe because the steel and the glass aren't compatible so if you hear something bang or shift over there it's just that at the gas conference in tacoma of course a lot of the conference will be centered around the museum of glass our mobile shop will be set up at a place called the lemay car museum it's just a couple of blocks from the tacoma museum of glass and we'll have our mobile studio right in front of a a wonderful car museum and so we're really excited to head out there and to be a part of the conference again last time we were at a gas conference was in saint pete in 2019 we're really disappointed the glasar society conference uh in 2020 was cancelled it was supposed to be in sweden that would have been a ton of fun but tacoma will be great it's the 50th anniversary of the gas conference too man everything's turning 50. except for yeah i wish i could say the same there's a fresh pumpkin over there um here we go another another gathering lesson from darren everybody pay attention he'll make your gathers nicer yeah um so that big glory hole running nice and warm that one takes a little longer to heat up that's a that's a big reheating furnace it's got four burners in it and the crew was here about 6 30 to turn that on for it glass barge coming back oh goodness sakes there's a loaded question glass barge was awesome we loved it it was 23 24 stops in you know two and a half months it was a it was a marathon and a sprint at the same time but man it had an impact i tell you what it was absolutely successful from that standpoint believe it or not there are plenty of people in new york state who would love love to see the museum involved on the canals again so the actual 200th anniversary of the canal way system started because portions of it were started when we got started in 2018 2019 um but the erie canal way system um will be 200 years old in 2025 so they still have an anniversary that they're working towards a big anniversary that they're working towards celebrating so for anybody who wasn't aware of part of the part of the things that we've been involved with in a couple of years ago to actually celebrate the 150th anniversary of glass making coming to corning we put a glass studio on a barge and we retraced the steps of the brooklyn flint glassworks coming to corning through the erie canal way system the the super highway of 150 years ago the erie canal this is my my favorite trivia bit if you've ever wondered why am i in corning what am i doing here and why is this a glass town it's because of coal it's because corning was a port town because the coal from pennsylvania was going into the erie canal way system through corning and and smart business people said hey we're getting all of our coal from the middle of nowhere new york state why don't we build our glass factory there so we don't have to ship all of our coal to new york city so if you wonder why am i in corning ultimately that's the answer transportation coal economics all of those good things i think they picked a nice spot i like being here so that company the brooklyn flint glassworks became the corning glass works and clearly you know corning headquarters across the river there was a giant factory smokestack university across the river until 1982 i think is when they tore down the big factory across the river i wish i would have seen that i never saw that but i worked with some guys who worked there when i started working here i worked with a glass maker named lynn the bar and he started working in that factory right out of high school this is great we get to see marine two ways right we saw them do the sheet pickup and the plunger pickup of mourinhe and it just results in a different arrangement of those colored patterns in the bubble in the finished piece we can see that nice pattern those mourinho are kind of yellow in the core and more blue around the edges i'm sorry it may yeah the question was will some of that appear greenish when it's cooled off and it may because they're both jewel tones they're both transparent colors and if and if they do intersect just right i'm sure you'll see you'll see some green tones in there it's not always that way with with colored glasses i mean if you were using opaque glasses it wouldn't interact in that way but in this instance i really do think you'll you'll see the colors he's using combined to create some new colors this is a lower form and dave's going to make it a little bit lower and wider holding it up so and then darren's working up that punny corp once again just a week away a little more than a week away a couple weeks away from ramping up for peak season around here as harry said classes are starting soon over memorial day weekend the museum goes to extended hours so we're working until seven at night instead of closing at five that's great because you know we really find that those hours later in the day a lot of families are still sticking around always a lot of new glass makers coming into town that make your own glass workshop hires i don't even know how many i'm guessing at least a dozen or more glass makers to help out over the summer we hire four or five glass makers to help out with demonstrations over the summer so it'll be great to see all those folks coming into town all right so getting ready for the transfer i don't have as much of a neck on the top of this one so it'll be a lower form a little bit of water off we go again [Applause] we're looking for parapar trophies did anybody bring their part trophies i think we have a pair in there i don't know if they're the ones that did you bring them over harry oh they're there okay good they were over the studio lino did a little work over there yesterday and uh the part trophies were still over the studio they're always the ones that get left behind because they have wet wooden blades on them and you don't want to throw your parchovies in with all your other tools and get them all rusty but they're it's like a pair of jacks with wooden blades instead of steel blades i like this trick leno when you're cutting something low it's super hot on your hand your hand is just inches away from that radiating heat and so oops lino put what's usually a wet cloth on his hands that one wasn't so wet uh to to trim around the opening there and protect you from that heat um all right now we can start opening that up a little bit looks like it might need a little more of a trim there we go man what a shot the best seat in the house there you go a little puff in the top there yes this is a fun little trick this is uh are we gonna use that damp board on the floor to work on getting a little bit of a puffy i can hear that when he touches it on there the heat of the glass is vaporizing the water in there it creates actually pressure in the vessel and puffs it up a little bit there's really nothing that cooks your arm like a big wide piece like this so you can see those guys getting in there with the shields that your t-shirt sleeve doesn't go very far against that 2000 degree heat and those those taller forms they don't radiate the heat the same but that big wide form boy it really really cooks your arm that teamwork darren dave and lino all working together me we always tell people when we're making a form like this that it's really wide it really wants to get away from you right and you're spinning the glass is hot and it's wide it's like a merry-go-round right if you're on the outside of it really wants to fling you around and it's really easy to get for something like this to get away from you that the heat and that spinning motion will pull the lip right out so you have to be really careful about your spin not spin too fast make sure you have the right heat in the piece to get the form that you want they're working on the outside and the inside at the same time using the wooden sticks right now leno has the cork on the outside to to get the profile that he wants hey all right so they're sneaking up on the form here it's looking pretty good of all the pieces that leno has made today you know this is the one that has the glass crowd like yeah right that's the hard one you know the nice hemispherical bowl nice all right that was a high sign [Applause] all right this one they'll lift up so tom did he want to come in here or not yeah okay [Applause] all right [Applause] lino telepietra thank you thank you thank you what else can we say [Applause] i think we all know the team deserves a round of applause to do dave walters darren dennison have been with leno for years and years guys that was really special to be able to see that today [Music] [Applause] [Music] [Applause] thank you steve thank you appreciate it it's our honor uh it's our honor to be part of this today and and everybody you know we do owe a great debt of gratitude to all of you for coming and sharing this with us today um it was special for us it's most special when we can share with close friends and you're absolutely the closest friends of the museum and we thank you thank you thank you for being here today for being part of this and uh for witnessing something uh not to overstate historic right something that that we were all privileged to be here and spend time seeing [Music] [Music] [Music] [Music] you

Channel: Corning Museum of Glass

Views: 86,251

Keywords: Corning Museum of Glass, glass, glassmaking, glassblowing, Lino, LinoTagliapietra

Id: sWcwdlTqk2I

Length: 160min 44sec (9644 seconds)

Published: Tue Jun 21 2022