Welcome to the Glass Age

151 Glass Blowing Studio” delivered at the Glass Art Society Conference in Norfolk, Virginia, they studied the vocabulary of the hot shop and proposed an alternative lexicon of terms that question the power dynamics, safety and inclusivity of glassblowing . Another notable work included in this exhibition is that of South Korean glass artist Choi Keeryong, whose work deals with otherness —the quality or state of being other or different. He debates the subject of cultural expectations through his work (Figure 9.8) and is inspired by his personal experience of being in a state of cultural in-between-ness, in terms of his current cultural location (Scotland) and his cultural origin (South Korea). In 2020, North Lands Creative launched their online campaign — Glass Lives Week , with a range of films, podcasts, interviews and exhibition that showcased the diversity of the field [5] and celebrated a wide intersection of UK and European glass artists. This included Christopher Day, a glass artist of mixed English and Jamaican heritage. His recent solo exhibition at Vessel Gallery London ‘Blown, bound and Bold’ (2020) powerfully explored the treatment of black people in the UK and USA. His work references the 18 th century slave trade and the social upheaval and events leading up to the American civil rights movement. In a recent podcast he was able to talk about how he became empowered through glass education, during his time at the University of Wolverhampton [6]. Also of note, is the work of Edinburgh-based, American Glass artist Jeff Zimmer who came second in the European Glass in Context (2021) Exhibition at the Bornholm Art Museum, Denmark with his glass work the “Shadow/Shelter”, an exploration of the lives of LGBTQ+ people in and from Caithness, a place in the extreme north of Scotland (Figure 9.9). In summary, by defining the far-reaching effects of the international Art Glass movement, it is hoped that this text has offered an engaging and exciting space for us to celebrate the contribution that Art Glass brings to the UN Sustainable Development Goals. We should also take reassurance in an advanced community of glass artists, Figure 9.9. Jeff Zimmer, ‘To Love You in Shadow’, kiln formed glass, 29.5 x 51cm. Source: Shannon Tofts.