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Name: Janice Peacock
Hometown: Lafayette
Years in Glass: since 1992
Website:www.janicepeacock.com

Email:

GLANC Member since 2012

 

 

 

 

Artist Spotlight Archives

 

Janice Peacock - March 2013

 

Ann Hollingsworth - February 2012

 

Johnathon Schmuck - May 2012

 

Carolyn Wang - July 2012

 

Ed Kirshner - November 2012

 

 

 

Artist Spotlight - March 2013

 

I met recently with Janice Peacock, a local flameworker I have known for years. She started off on a small scale, creating beautiful, lampworked glass beads at a torch. She now has made a shift in her work, and has started to transition to larger scale sculpture made in the glass blowing studio. Following are highlights from my visit with this kind and talented artist.

Demetra Theofanous
Artist & GLANC Board Member

 

What inspires you?

From ethnic masks to ancient vessels, I am inspired by times long past. I began on this path by making beads, that were sculptural, showing different masks drawn from books or my imagination. As time has gone on, I have started to work on a larger scale, having others translate those beads into masks made in the glass blowing studio.

Elder Buffalo Priestess

Who or what has been most influential in your craft?

Having a chance to see Italian masters like Vittorio Constantini and Lucio Bubacco, has had a lasting impact on me. They work with soft glass, making sculptural objects that are extraordinary.

If you could look inside the studio of any artist, who would it be and why?

I have already had a chance to peek inside the studio of someone I greatly admire – Vittorio Constantini. He has a tiny, unassuming shop where he makes his work, and I remember thinking you can’t judge a book by its cover! His is an amazing artist and a very kind man. I was lucky to see a glimpse of his world.

What is your creative process?

I pull from a lot of places when I am in the process of creating, inspired by Buddah and ancient times. I visit museums, sketch, and pour through books. I don’t focus on doing a literal interpretation, but rather find my voice through a stylized interpretation of what I see. So far, my process hasn’t been very systematic, but I am trying to change that – finding a balance between experimentation and being able to reproduce pieces I like.

I did a residency at the Museum of Glass in Tacoma, and it was very rewarding to see my small, flameworked prototypes translated into large masks, by their glass blowing team. I hope to continue in this direction, and have been working out of a friend’s glass blowing studio, making sand castings. I first sculpt my design in clay to make the positive, and then create the negative, in the sand. The glass is then poured into the sand, to take on the impression of the design.

Janice in the studio Flameworked Antelope, 2 inches Large Antelope Sculpture
Buffalo Whistler Sand Cast Mask, Meditation

Do you work with mediums outside of glass as well?

I primarily work in glass, but have also experimented with metal clays. Below is a photo of a necklace that incorporates metal elements, that has been in a show traveling around the US, and is now in Japan.

Life During Wartime Necklace

What do you see as your biggest challenge as an artist?

My biggest challenge has been marketing my work, and connecting with galleries and collectors. I have made this new body of work, and with this shift, it will take time to find avenues to sell my art.

Do you have any upcoming shows?

I have a solo exhibition coming up at Public Glass. I will be posting dates on my website, when I have them available.

 

Antelope

 

Thank you, Janice, for sharing your inspiring and unique work with us! The changes you are making in scale, are taking you in a new direction, and we look forward to seeing what comes next. We hope to arrange a tour of Janice’s studio soon, so interested attendees can email me at