Established on the banks of the Potomac River in 1974, the Torpedo Factory Art Center in Alexandria, Virginia, has developed over nearly four decades into an institution for artists of all mediums to find affordable studio space, a sense of community, and an audience. With 82 studios inhabited currently by over 160 artists working in an array of mediums, as well as six galleries, and two workshops, Torpedo Factory presents a unique way for artists to display, create, explain, and sell their work, as each studio is open throughout the week for the public to enter and see the artists working firsthand, and purchase artwork directly. The center is open to artists working in all materials, including glass, though there is no hot shop on the premises. Artists from as far away as Baltimore, and northern Virginia, have joined this group, drawn by the camaraderie and commercial potential. As the founding members of this organization begin to retire, there is room opening up for a new generation of artists.
On February 28th, the Torpedo Factory Arts Association will host their annual jury for new members. Only members of the association are able to lease studios at the center. They will be accepting artists who work in glass, painting, sculpture, jewelry, ceramics, printmaking, collage, filmmaking, photography and fiber art. Each applicant will be required to submit their application, six original works, 20 images on a CD and the application fee of $35. The two jury panels, one for 2-D work (Zoe Charlton, Vesela Sretenovic, and a yet-to-be-determined juror) and one for 3-D work (Binnie Fry, Chris Shea, and Novie Trump) will accept an open-ended number of artists. Those chosen will be offered a studio space to sub-lease.
In a detailed e-mail response to the GLASS Quarterly Hot Sheet, jury committee chair and painter Michele Hoben explained: “Once an artist has been accepted as an associate, and, after sub-leasing for 180 days, they are eligible to add their name to a waiting list for solo studio space. More often, artists are asked to join an existing artist’s studio where they would be required to be on ‘trial lease’ for four months before becoming a leasee.”
Hoben noted that studio costs are based on the square footage of each individual space. Following the trial lease period artists who follow all of Torpedo Factory’s house rules and pay rent on time are able to stay as long as they want. There are also many opportunities for artists to sublease artist studios for very reasonable rents.
Each space is rented, in many cases, as just that: a space. Although some studios are located near common sinks, or plumbing for people working with sandblasting tools and the like, not every studio is equipped with individual water or gas lines. Those leasing studios do have the option of requesting certain specifics for their future studios, for example a first floor space with ventilation near plumbing facilities.
Torpedo Factory resident Alison Sigethy, who slumps and coldworks plate glass sheets, says that the lack of utilities has not be an issue, seeing as studios such as hers are positioned close enough to amenities that compromise can be made. She transports water from the common sinks to her space for finishing work, and sees this as anything but an inconvenience. “Pretty much what you rent is the space, and what you get out of that, and want to put into it is up to you.”
Although some only stay for a short period of time, artists like Christine Parson have been involved with Torpedo Factory since it’s opening. She acknowledges many benefits from working in this unique environment, such as the chance to work freely in many different respects.
“The benefits are many. I can work at my own speed, I can leave things to dry out of anyone’s way, I can explore multiple mediums and most of all, I can work with and be inspired by my peers,” said Parson.
The space lends itself, not only, to the education of the public and Torpedo Factory patrons, but to the education of the artists as well. “For me, working in an environment that allows me to ask for help, to consult with other artists, to be a member of this group, far outweighs private and lonely personal studio at home,” said Parson.
Rooted in the Torpedo Factory’s emphasis on collaboration, it was at the center that Parson first turned her attention to glass working. “Glass is not my only medium,” she said. “I learned to do glass from one of the other artists here in the factory. It was an exchange: I did a painting for him as a cartoon for a large piece he was commissioned to do and he then taught me how to do glass.”
Torpedo Factory artist Sigethy took a spot at the center a few years ago. Her glass work, mainly sculptural, is made with recycled glass from landfill-dumped building glass. Her work takes extensive sandblasting and cold-working. Her studio at home where her kiln is situated as well as her Torpedo Factory studio support her work equally, and she appreciates the opportunity to work at her own pace, and around her own schedule. Although her space cannot comfortable accommodate her kiln and finishing tools, she considers that fine, because it allows her to divide the work and focus on the hands-on type of techniques at the studio, and hands-off work at home overnight.
“I load the kiln every night and pack up the work from the day before to take to the studio for finishing. Since the finishing is more time and labor intensive, it all works out very well,” she said.
She has seen her work ethic and style blossom in a space full of like-minded individuals that offer her a chance to interact, ask questions, and share techniques. “I like that with so many artists, all at different points in their career, there is always someone you can ask for help. I’ve asked other artists for advise on shows, marketing, and materials. Having others around with more expertise has been extremely helpful.”
Seeing as the studios are open to the public, both artists advise that those looking to apply for a spot at Torpedo Factory be aware of the fact that working in this environment is quite different from working in a space at home, or at a private studio.
“Because we are a very public venue, not everyone who comes in is knowledgeable (or even interested) in art. So, you do get some advice and questions that can seem insulting, but you don’t have to take it that way,” said Alison. “I have had many good conversations with people that have started with a question of comment that made me cringe inside. You just move past that. I’ve also gotten numerous comments from people that were insightful and proved to be helpful in some way.”
One of the greatest benefits that both artists see with regards to working at Torpedo Factory is the sense of community fostered within the art center’s walls.
“The sense of community is important. We are a community of artists. Some of us have been here since we opened 36 years ago; some of us have joined the community much more recently. Respect for the work each of us does and respect for the workplace builds that community,” said Parson.
“Over the years I have been inspired by other artists in the Factory,” she said. “The great advantage to being in the Torpedo Factory is the opportunity to ask for help, to share new materials, to explore new avenues of expression. The sharing of ideas, mediums, techniques has allowed me to expand both my vision and my expression of ideas.”
February 28 Torpedo Factory will invite a number of new artists to join this community, and reap the benefits of working within a group of artists that appreciate exploration of mediums, dedication to their work, and the ability to interact on many different levels with the Factory’s visitors.
Applications and information are available online at http://www.torpedofactory.org/jury/, or by contacting Michele Hoben Jury Committee Chair by email at
mphoben@aol.com or tfaa@torpedofactory.org.
There is also a visiting artist residency, for which the deadline to apply is February 28th, 2011. More information can be found on the residency’s Website.
—Alica Forneret