An American glass artist best known for his modern approach to centuries-old techniques, Rocko Belloso specializes in murrine, cut and flip, stringer drawing, and sculpture. He is an innovator in his combination of these elements as well as his custom color mixing methods. His work presents an updated aesthetic with influences from comic books, cult movies, metal music, and lowbrow art, ranging from stylized depictions to hyper-realistic portraits.
As a young teen, Belloso anticipated attending art school to become a cartoonist, but his plans changed in 2003 when he saw the two-dimensional rendering possibilities of murrine glass. He consequentially accepted a glassblowing apprenticeship and employment at Third Eye Design in California, where he spent the next seven years as a production artist, assigned to making mostly dry pipes.
In his free time, Belloso took classes from artists including Scott Deppe, Jesse Taj, Marcel Braun, and Jason Lee, whom he respectively credits with learning murrine, chip stacking, line-work, and reticello. In 2010, Belloso began doing hourly work for an independent glass distributor, affording him more freedom to explore these specialized techniques. In 2014, as his murrine work gained popularity in flameworking circles, the artist took the leap and began working for himself.
Since becoming an independent artist, Belloso has received accolades for his unique work, which has been displayed at galleries and created at live demos across the country. His art has been included in various glass competitions, for which he has received medals and first-place awards. He has also served as a judge at the World Series of Glass and Champs Glass Games. The artist was recently a selected competitor among some of the best boro artists in the industry at Midwest Meltdown. To date, Belloso has been an integral part of every Molten Build – the brainchild of friend and artist Adam Hoobrey aka “Hoobs” – an incredible collaboration with some of the most skilled torch artists, resulting in massive, detailed functional boro sculpture.
As a result of his extensive knowledge and groundbreaking applications, Belloso has been invited to teach workshops at institutions including the Corning Museum of Glass, Carlisle School of Glass Art, and numerous glass studios coast-to-coast. He just finished a glass sculpting class at Salem Community College Glass Center and will be teaching Creating Narratives in 2D: Borosilicate Cut & Flip Techniques, August 3 – 14, 2024, at Pilchuck Glass School, Stanwood, Washington, with Eriko Kobayashi as his TA. Info and registration:
https://www.pilchuck.org/programs/session_5_storykeeping
Over the past year, Belloso and flameworking icon Paul Stankard have been transferring the soft glass techniques Stankard pioneered into borosilicate glass. The duo recently demonstrated the processes at Salem Community College’s International Flameworking Conference, held March 15 – 17, 2024. They are currently developing a new body of work, Momento Mori, for future exhibition at WheatonArts, Millville, New Jersey, dates TBA.
Stankard states: “Rocko Belloso, who is a master in the borosilicate world, was able to interpret my botanical vocabulary in a way that has inspired me, knowing that a new botanical aesthetic is going to evolve in borosilicate glass. I was assisting Rocko with keeping things hot, organizing the vacuum pick-up for the honeybees, and all-around taking advantage of his incredible talent. I’m fascinated with the possibility of different aesthetic results that could develop by using borosilicate glass. The quality of the colors and clear glass rods is impressive. It takes a lot longer to encase the components and ball up the glass; that said Rocko brings skill and patience to the task. I prefer the title Boro Flower Balls and believe that future collectors will embrace this new work – going beyond the paperweight world with enthusiastic collectors building large collections with a wide range of artists represented.”
Housed in a 19th-century cheese factory, Audrey Handler’s studio was founded in 1970 and is one of the oldest continually operating glassblowing facilities in the country. Through demonstrations she gave there and workshops she taught on the road at places such as Penland School of Craft and Haystack Mountain School of Crafts, she helped spread the idea that glass could be used as a medium for personal artistic expression.
| A pioneer of the Studio Glass Movement, Handler started working in glass in 1965 as one of Harvey Littleton’s first female glass students. He and his students experimented and learned together, renting old glassblowing films from the Corning Museum of Glass and trying to emulate the techniques. “It was so exciting,” Handler recalls. “Every day was something new.” As a glassblower, Handler creates fruit forms, glass platters, and vases but also sculptural environments that comment on universal experiences, usually domestic in nature. These sculptures reflect small worlds and landscape portraits with life-sized objects and tiny sterling silver or gold people that evoke a surrealistic time and place. In well-known series the artist calls Monuments in a Park, Pear in a Chair and Wedding Pair, glass, wood and precious metal combine to tell a story. These works are made in collaboration with her husband, John Martner, who fabricates the tiny wooden chairs and love seats. Wrote James Auer, Art Critic, The Milwaukee Journal: “By combining pieces of hand-blown fruit, in particular apples and pears, with tiny, hand-cast silver figures, (Audrey Handler) creates bizarre, Lilliputian landscapes that evoke universal human emotions and experiences. …this universality – combined with a neat sense of humor – is Handler’s principal strength. It permits her to invest her work with a cutting satirical edge, to the point where her miniaturized depictions of conventional household scenes and cliched gender role models become winning little exercises in small-town surrealism.” Handler was a board member of the Glass Art Society, an international organization she helped create in 1971. She holds a BFA from Boston University School of Fine and Applied Arts and a MS and MFA from the University of Wisconsin, Department of Art. Her work was represented in the New Glass 1979 and New Glass Now 2019 exhibitions and published in the Corning Museum’s survey of cutting edge-glass art, New Glass Review, in issues 5, 16 and 43. In 2014, Handler was awarded the Wisconsin Visual Arts Lifetime Achievement Award, joining fellow honorees Frank Lloyd Wright and Georgia O’Keeffe. The artist currently serves on the Glass Advisory Board of the Bergstrom Mahler Museum of Glass in Neenah, Wisconsin. |
Handler’s sculptures can be found in collections and museums worldwide. During 2023 and 2024, her work was exhibited at the Racine Art Museum, Racine, Wisconsin, in two separate group shows: Women in Glass and Wisconsin Artists: 1960 – 1990: A Survey. Her work is on view now at the Chrysler Museum of Art, Norfolk, Virginia, in 60 Years of Studio Glass, 2022 to present, and at the Chazen Museum of Art, Madison, Wisconsin, in Recent Acquisitions, 2021 to 2023, and an ongoing exhibit of her work from 1965 to present. Her latest endeavor involves creating new mixed media sculpture and painting with low-fire glass paints on tiles and glass, creating landscapes of the prairie seen from her studio window, areas around Wisconsin and visions of landscapes from her many travels. These glass paintings are an extension of her work with blown glass – an endeavor which spans more than 50 years – as well as a return to her roots as an oil painter.