Inspire (Cherry) by Percy Echols II

Engraved and Blown glass, with metal stand.

This was the first piece (2017) in the series called "Inspire', featuring blown glass lungs, which began as an exercise in drawing on glass using engraving and carving techniques. In creating the lungs, an effortless fluidity and breath are required to give it shape and form. To balance these efforts, like its namesake, I let the process be my inspiration. Each drawing starts with a series lines that wrap around the piece. These lines are then used as guides to create an evolving pattern when viewed from multiple perspectives. While Design is the focus of the work, the labor reveals something beautiful when we can peel away the outer layers and see what lies beneath.

photography provided by Nathan J Shaulis of Porter Loves

Dimensions (in. WxHxD): 16in x 6in x 6in

Blue Bolo Necklace by David Licata

Torch worked glass chain maille - borosilicate glass - blue sparkle.

Traditionally, Chain maille was used for protection by knights in battle but today it is mostly worn as jewelry. My work questions the idea of protection and finds beauty in the fragile forms. All of these works are created using torchworked borosilicate glass and various chain maille techniques. Experimenting with shapes, size and complex patterns allow for a diverse range of effects in light and shadow. Contradictions in strength and security are questioned with clear glass emitting strong and powerful shadows. Each piece is unique and changes with every installation or how it's worn on each individual.

Dimensions (in. WxHxD): 0.5 x 0.5 x 28

...Do...Part... by Lauren Kalman

...Do...Part... originates from an action where blown glass is distorted through being held or hugged by the body. The jewelry is left behind with the vessel along with the impression of the body. Once the vessels are distorted, they are not altered; oxidation of the metal, folds in the glass, and textures are all locked in place. These objects are markers of a specific moment and relationship between the body, jewelry, and vessel. They solidify that moment, much like the void of a victim of Pompeii left in the ash. In the glass vessels the body pulls away, but copper jewelry remains, with the face of the jewelry embedded in the clay and glass and the inside or back visible to the viewer. A bracelet that was around the wrist as the vessel was held is partially embedded in the surface with the remainder dangling off the side. An earring is pressed into the surface surrounded by the imprint of an absent ear.

Dimensions (in. WxHxD): 10 x 15 x 10

Beetle Cabochon by Michael "Fig" Mangiafico

borosilicate glass Red Beetle encased on a whilte millifiori background - millifiori cane and beetle components flameworked at the torch, fused into microwave kiln, then polished

Dimensions (in. WxHxD): 2.25 x 0.5 x 2.25

What the hand see's by Saburo

Ruber hose style scultpure; black, white, & red

Dimensions (in. WxHxD): 1.5 x 3 x 4.5

Copper Sphinx by Terry Henry

Electroformed moth specimen, lampworked and blown glass abdomen, dichroic glass accents and cubic zirconium eyes. This may be worn as a stick pin.

Dimensions (in. WxHxD): 3 x 0.75 x 4.5

"what is love" wand by Sherry Wang

An enchanting flameworked borosilicate glass wand

Dimensions (in. WxHxD): 4 x 2 x 15

**3rd Place, Artwork Valued Under $1k**

90's Punk by Rose Glass Art - Angela McHale

Zenon/Krypton plasma vessel with liberty spikes

Dimensions (in. WxHxD): 7x8x3

Poppy Bottle by John Geci + Justin Rothshank

Decal encased blown glass form by John Geci. Glass surface decal decoration and design by Justin Rothshank

Dimensions (in. WxHxD): 7 x 18 x 4

Invisible Art by Wade Kramm

Invisible Art #3

Invisible Art #3 transforms an ordinary picture frame into cast glass. By rendering this familiar object transparent, the work shifts attention from the frame to the surrounding wall, allowing the architecture of the gallery to become an active participant in the piece. The work continues my exploration of how subtle architectural interventions can recalibrate perception, drawing attention not only to the physical space but also to an awareness of the personal and cultural frameworks that shape our experience.

Dimensions (in. WxHxD): 14.75 x 1 x 12

P-51 Mustang by Travis Rohrbaugh

The artwork is assembled waterjet cut plate glass.

Dimensions (in. WxHxD): 5 x 10 x 9

Blown Flameworked Vase (sandblasted) by Caitlin Dolhi

Borosilicate flameworked flowers, stems, and vines in green, white, and red

Dimensions (in. WxHxD): 3 x 11 x 3

Reliquary of the Fragile Wings by Prasch Glass

Lampworked glass + feathers. Birds rely on predictable seasonal patterns to breed, feed, and survive. As climate change disrupts these patterns, it threatens the survival of bird populations and the ecosystems they support.

Dimensions (in. WxHxD): 3 x 18 x 3

Magpie Skull by Leo Fine

Black, white, blue striped bird skull. Fine is also part of the Pittsburgh Glass Center community, having served as the Senior Tech Apprentice.

Dimensions (in. WxHxD): 17 x 6 x 4.5

A Thought of Ettore by Alyssa Oxley

Kilnformed square box with grommet and plinth, in mostly grays

Dimensions (in. WxHxD): 9 x 2.5 x 9

Garlic Klein by Lydia Leung

Flameworked borosilicate glass garlic sculpture within mathematical model known as Klein bottle.

Leung's work merges scientific technique with botanical sculpture, encouraging the viewer to conceptually explore their own relation to space, movement, kingdom plantae, and the cyclical nature of life as the eye follows the lines of the form, bridging specialisations within the discipline of flameworking.

Dimensions (in. WxHxD): 6 x 3 x 3

Untitled by Paul Wissmach Glass Company

This object is a kilnformed glass bowl made with Wissmach COE96 fusible glass. Two layers of glass are fused together to make the object. The bottom layer is a single circle of green glass and the top is comprised of pieces of glass that were cut to fit together to create the design.

Dimensions (in. WxHxD): 1.25 x 12 x 12

**2nd Place, Artwork Valued Over $1k**

The Found Specimen by Lindsy Marshall

The Found Specimen is an installation that highlights the connection between glass and geological transitions. The Found Specimen aims to focus on the changes within minerals and materials that create slow differences within shape, form, and appearance due to elemental shifts to show how important time and pressures are. This sculpture is created with both blown and kiln formed techniques and uses mica and enamels. I blown certain shapes to then use heat and time to create a movement within the finished piece.

Dimensions (in. WxHxD): 36 x 20 x 12