Show notes
For two decades, the beauty of the Canadian Rockies has informed the sculptural work of Leslie Rowe-Israelson. Wondrous locales such as Banff and Jasper National Parks inspired her to express an emotional connection to nature in kiln formed glass, often enhanced with one-of-a-kind flameworked beads made by twin sister, Melanie. Leslie has mastered the creation of large fused panels as well as massive color bar bowls made in homage to streams flowing through the mountains. Using a color bar process that allows her to strip away layers of color, Israelson then uses that color to create paintings of light in glass. She expands on these skills by placing different types of reactive glasses together, such as copper bearing glass, silver, and reactive cloud glass. Continually challenging, this combination of techniques evokes different seasons and climates, sharing the artist's passion for both glass and nature with the viewer. In the mountains of Canada, glass consumed Israelson's thoughts and dreams. Beginning in stained glass, a new visual language of kiln forming was born of training and dialoging with other glass artists. From 1985 to 1994, Leslie and Melanie attended the world-renowned Pilchuck Glass School in Stanwood, Washington. Both sisters agree that Pilchuck changed their lives. There they met Klaus Moje, Richard Whiteley, Rudi Gritsch, Richard Marquis, Paul Marioni, Dante Marioni, and William Morris – encouraging their evolution from flat to sculptural work. They also met Thomas Hamling, developer of Zircar Refractory Composites, who introduced Leslie to Mold Mix 6, which introduced her to a new visual vocabulary. The sisters received additional training from the Alberta College of Art, Calgary, Alberta; Andrighetti Glassworks, Vancouver, British Columbia; Boyce Lundstrom's Camp Colton, Colton, Oregon; and the Vancouver College of Art. Together they have participated in a number of residencies, both at Pilchuck and Uroboros Glass, Portland, Oregon. In 1995, Leslie and Melanie attended a month-long symposium in Teplice, Czech Republic, held by Glav Union, one of the largest flat glass manufacturers in the world at that time. In early 2000, Israelson spent six months making a wax for a new piece that featured a huge glass circle with multiple figures. When she finally fired it, the piece cracked in the kiln due a thermocouple failure. She explains: "It was awesome! When I took it out of the mold, a big chunk came out, revealing the way the glass had flowed and melted. I wanted to figure out how to recreate that look intentionally." This event marked the beginning of her work assembling, fusing, and slicing color bars. Now, the artist carefully stacks all the glass, knowing how it's going to flow and move, and which way to cut it. "I try to create the flow of the mountains through the flow of the glass," she says. In 2004, Israelson studied with Irene Frolic and Lou Lynn at Red Deer College, Red Deer, Alberta. There she discovered wax, and suddenly her work evolved from flat bowls to three-dimensional sculpture. She began to work larger, incorporating metals in the work by applying iron oxides on the surface of the mold material. Without access to a hot shop, the artist accomplished all of her creative goals in her kiln, layering Bullseye Glass in sand, talc and Mold Mix 6 molds. She states: "No one was doing this at the time. I was a teaching assistant for Warren Langley at Pilchuck, and he gave me the sand and talc mixture. I experimented with mold materials that would allow me to take the skin off and see inside the glass – to let the light reflect through it." Israelson's commissions include: Government of Canada, Governor General Arts Award, cast glass hands; Banff School of Fine Arts, Mountain Film and Book Festivals: Awards 1996 – 2014; Government of Canada, Secretary of State for External Affairs: International Gifts 1990; and Alberta Foundation for the Arts, Acquisition for Permanent Exhibition. She has demonstrated or taught at the Glass Art Society, virtual demo, 2021; Corning Museum of Glass, Corning, New York; Pilchuck Glass School; Alberta College of Art and Red Deer College of Art, Red Deer, Alberta, Canada. For the last few years, Israelson has been working on a new series of larger works made via a fusing/ glassblowing hybrid process with the assistance of glassblower, Ryan Bavin. Bavin is both glassblower and award-winning nature photographer. His father, Pat, started Bavin Glassworks in Invermere, BC, in 1988. Ryan served an apprenticeship there that lasted for eight years before moving on to Pilchuck, where he studied and has been invited back several times as a teacher and gaffer working for and with respected glass artists from Canada and other nations. His blown work is represented by Canada House Gallery, Banff. Says Israelson: "Our glass work together has developed over the years, and I cannot think of a better glassblower to work with blowing out our Bullseye Glass than Ryan. Our paths have overlapped over the years at Pilchuck, giving us a solid foundation for experimenting and creating together or separately." Always moving in new directions, Israelson now feels she can truly interpret the land, sky, and mountains by painting with glass. Through experimentation, she hopes to create an artistic link between glass and stone and the world in which we live. Her collaborative work with Bavin can be seen in 2022 at Canada House Gallery, Banff, and The Hearth – Arts on Bowen, Bowen Island, BC.