Not in Kansas Anymore

Written by Mont A. Kuykendall

Bits of light and color caught in glass. All around us are shiny reflections, prisms of color, reminders of how much of a difference glass makes in our daily lives. But, before meeting with Jesse England, a talented and upcoming artist, now making his home in the wine country of Augusta, I had no idea where it came from, or the amount of skill, talent and love it takes to produce.We met on a cold, blustery day at the Augusta Glass Studio where Jesse has been working for the last year as a Journeyman under owner Sam Stang, putting to use the degree in Art that he obtained from Emporia State University in Kansas, located about an hour from Kansas City.  He decided early that glass was what he wanted to pursue and work with full time.

“It started in high school. Like most kids back then, I wasn’t sure of what I was truly interested in,” he recalls. “I started working with the pottery wheel in art class, both because it was fun, and because the class was one of the few with air-conditioning at the time,” he laughs. “It wasn’t until I ran across a glass shop in a local town while attending junior college that I realized what I wanted to work with – glass!”  At the time, that company was primarily producing paperweights. “It was interesting, but I saw so much more in glass that I wanted to do, things I wanted to create.”

 

He soon transferred to Emporia University in order to participate in a specialized glass program, commuting from home daily, and becoming immersed in the knowledge of glass working. His last years at the college found him working as the university’s glass technician, helping other students achieve their artistic visions, and helping to develop their love for glass. Upon graduation, he wasted no time in getting to work. Moving to St. Charles County in early 2008, he began pursuing his own personal vision, and immersed himself in the local community.

“I was very lucky to get to work here,” recalls Jesse. “Getting to work with Sam Stang is a great opportunity for me. He has been working as a glassblower for over 27 years, and learned from the best.”

The best that he referred to was none other than the great Lino Tagliapietra, an Italian master, who in the late seventies, came to America and began teaching many of the Italian techniques; techniques that the Italians considered valuable trade secrets.   He wasn’t popular back home, but Lino started a major glassblowing movement in the Americas, and gave birth to the American Studio of Glassblowers, which continues to flourish today.
“The ability to work for a second-generation glassblower like Sam is a great opportunity,” he continues. “I have learned so much working here. It’s a great working environment.”
The warmth from the glass furnace is pliable, cutting through the cold as we approach.  Different colored lengths of glass, and tools fill tables around the room. I am told that maintaining the furnace is a 24/7 job. “This furnace is heated to around 2000 degrees,” he says opening the furnace door. The heat is overpowering in its intensity. Inside resides the molten glass; like light golden water in appearance. “We spend a full day just melting the glass we will use during the week, and have to keep it at the right temperature at all times. Glass is only workable between about 2000 degrees and 1400 degrees. Any cooler and the glass will harden, making it impossible to work with.”

Smaller ovens, called glory holes, are setup nearby, along with the specialized tools needed for forming. “We use those for keeping the glass at the optimal temperature while creating a piece of glass,” he says. “You have to constantly move back and forth from the ovens in order to keep it pliable, and most jobs require at least two people to complete.” Which is something that appeals to Jesse. “I like the idea of being part of a team. Teamwork is a major factor in glassblowing, and I really enjoy the cooperation that you find when working so closely with other people in producing the art.”
When it comes to mediums, glass was only the beginning for Jesse. “I have recently started working more with wood, and have already worked extensively with metals too. I like the tension created between metal and glass, since metal can be damaging to glass if you don’t apply it right.” The differences in temperatures that each medium can be worked makes combining them a much more delicate operation than glass alone. “I have even used concrete and steel in my artwork. People usually only see them used in construction and buildings, but I wanted to use them in new, interesting ways that changes everyone’s perceptions.”

Surrounding me on shelves are vast numbers of finished glasses, vases and other products. So which is the hardest to make? “Goblets,” replies Jesse. “They are probably some of the hardest to produce. Thinner glass heats and cools more quickly, making the goblets very delicate. And since they are often comprised of three to eight separate parts, keeping everything aligned is difficult.”  Its strange to realize that a vase made out of a single piece of glass, though detailed in color and form, is more appreciated by today’s public than the humble goblet, which is often taken for granted. “They (goblets) are under appreciated, which is why I like making them.  It keeps me sharp.” 

Jesse points out that he has received a lot of support from the local community for his work. “One of the first people to support my work was Deb Faulkner,” he smiles reflectively. “She is the owner of the WineRoad Boutique here in Augusta, and was the first to display some of my artwork in her shop. That kind of support has really been helpful in achieving my dreams and goals.”  Jesse has also been quick to give back to others, and volunteer his time and artwork. He recently created a magnificent table centerpiece for the Over The Top for Tots fund raiser, sponsored by Crisis Nursery. “It’s important to stay active in the community,” he says. “It always feels good to be part of anything that brings a new interest to glass, and the arts.”
Good artwork seems to be born. It’s true for Jesse, who is always looking within for his inspirations. A painting produced in college, and now hanging over his kitchen table reflects that insight. “The instructor told us all to do a self portrait,” he says smiling. I look harder at the picture, starting to define familiar shapes within it. Sensing my dawning understanding, he continues, “Yea, I wanted to be different, so that is me at the cellular level,” he laughs. Now that’s looking inward!

For future goals, Jesse sees himself obtaining a Masters in the Arts and pursuing his artistic visions. “I want to create something new, “ he says. “Some strive to replicate what they see in nature, which I have total respect for, but that is something that nature has already perfected. I want to produce something that you haven’t seen that still has some natural elements in it, things that are reminiscent of the world around you — but not quite.”
Webster’s defines glassblowing as: ‘The art or process of shaping an object from molten glass by blowing air into it.’ That sounds too simplistic in its definition after seeing the skill and talent Jesse puts into his creations. So the next time you raise a toast, and your goblet catches the reflective light, look deep, for you may glimpse the heart of an artist, captured in glass.

You can see more of Jesse England’s artwork by visiting www.jesseenglandglass.com