self-described loner, Joel Philip Myers developed his skills in relative isolation from the Studio Glass movement. With works inspired by a vast array of topics ranging from his deep love of the Danish countryside to Dr. Zharkov, the artist avoided elaborate sculpture in favor of substantial vessels that are simple yet powerful.
States Myers: “In 1964, on the occasion of an exhibition titled Designed for Production: The Craftsman’s Approach, I wrote in an essay in Craft Horizons magazine: ‘My approach to glass, as it is to clay, is to allow the material an expression of its own. Press the material to the utmost, and it will suggest ideas and creative avenues to the responsive artist.’ The statement was sincere and enthusiastic, but decidedly naïf. I never thought when I wrote it that it would be the one statement of mine that would continue to be repeatedly quoted, throughout my 46- year-long career, as my defining philosophy. I have no defining philosophy. I am a visual artist, not a philosopher. Thoughts and ideas and opinions do not constitute a philosophy, and my thoughts and ideas and opinions have evolved and matured and changed in the time that has passed since 1964.”
He continues: “As an artist I like to think of myself as a visitor in a maze, trying to find a solution to a dizzying puzzle. As in a maze, I have, through blunders and exploration, arrived at solutions, and embraced the manifold possibilities that the material offers: plasticity, transparency, opacity, translucency. I am sensitive to the wonders of the visual world and inspired by the forms and colors of the natural world. My training as a designer has enabled me to understand and exploit organization and structure, adding a rational perspective to my intuitive, emotional self.”
Myers earned his degree in advertising design from Parsons School of Design in 1954. He studied in Copenhagen, Denmark, before earning a B.F.A. and M.F.A. in ceramics from the New York State College of Ceramics at Alfred University in the early 1960s. In 1963, he was hired as design director at Blenko Glass Company in Milton, West Virginia. Captivated by the drama of this thriving glass factory, he learned glassblowing through observation and practice.
In 1970, Myers established the nascent glass department at Illinois State University in Normal, Illinois, where he served as Distinguished Professor of Art for 30 years until he retired from teaching in 1997. He is an Honorary Lifetime Member, 2012 Lifetime Achievement Award Winner and past President of the Glass Art Society, a Fellow of the American Crafts Council, and the recipient of a National Endowment for the Arts Fellowship. His work is represented in prominent museum collections around the world, including The Corning Museum of Glass, Corning, NY; The Art Institute of Chicago, Chicago, IL; the National Museum of American History, Smithsonian Institution, Washington, DC; the Smithsonian American Art Museum, Washington, D.C; The Museum of Decorative Arts, Prague; Hokkaido Museum of Modern Art, Japan; Musee des Arts Decoratifs, Palais du Louvre, Paris, France; and Musee de Design et d’Arts Appliques Contemporains, Lausanne, Switzerland, amongst others.
Of his sculpture, Myers states: “My work is concerned with drawing, painting, playing with color and imagery on glass. I work with simple forms and concentrate on the surface enrichment. I prefer the spherical, three-dimensional surface to a flat one, because as I paint and draw on the glass, the glass form receives the drawing, adapts to its shape, distorts and expands it as it clothes and envelops itself in my drawing. I feel a communication with the material, and a reciprocation from my subconscious, as I continually search for new insights into my unknown self.”
Enjoy this enlightening conversation with Myers, who at 91 has a near photographic memory of the events and developments that spurred the Studio Glass movement forward in its early days, as well as the ideas and processes of his personal work in glass – some of the most successful and collected of its day.