Since its launch in 2018, the Toyama Museum of Glass in Toyama, Japan, has been holding its International Glass Exhibition every three years. For its third iteration, the triennial received 785 entries from artists in 50 countries. The submissions were considered by a panel of judges made up of Corning Studio director Amy Schwartz, Neues Glas publisher and editor Uta Klotz, Shanghai Museum of Glass founder and director Zhang Lin, Japan's National Museum of Art director Tsuchida Ruriko, and Toyama Glass Art Museum director Nohagi Naka. The jury chose Slovenia's Tanja Pak, and her work Rêveries, for the grand prize, which comes with an award of ¥3,000,000 ($20,500 USD). Lithuania's Daila Truskaite won the gold prize for her work, Forgotten, which is accompanied by an award of ¥1,000,000 ($6,800 USD). Two silver prizes, with awards of ¥300,000 (USD $2,000) each, were presented to Japan's Michiko Sakuta for The ebb and flow of the light, and Estonia's Birgit Pahlapiju for Riot of flies.
The Glass Quarterly Hot Sheet caught up with grand prize winner Tanja Pak to find out more about her prize-winning work, and the impact of winning this international award. In addition to her art practice, Pak is a professor at the Academy of Fine Art of the University of Ljubljana in her native Slovenia, where she is head of the glass and ceramics department.
Glass Quarterly Hot Sheet: First of all, congratulations on taking the top prize. Can you tell me a bit about the winning work -- Rêveries -- which is a remarkable use of pate-de-verre, which I've rarely seen suspended as you did in this work.
Tanja Pak: Rêveries questions the fragility of our being, the ethereal presence, and our fleeting, almost immaterial existence. In this work, I try to achieve the denial of everything definable, and point to something which lies beyond, and, at the same time, is right here. These forms, for me, are a question of fragility, to the non-material, or a reflection on what - what heaviness, hard work, and discomfort sometimes lies behind the apparent lightness and weightlessness, all of which make our longings and dreams ethereal.
I challenge myself to transfer this idea into the matter, where it almost disappears and leaves behind only a thought -- a feeling. In the unrepeatable technique of pate de verre, I push the borders of the material to the point where it almost breaks under its own weight. To me, it’s always a metaphorical question.
My work is always about the "space between," the undefined line between one and the other, or the duality between whether something already exists or is yet to exist, or is not there anymore; it can also be experienced as a presence-absence dilemma. I believe that I speak for the feelings of vulnerability, longing, and the search for tranquillity that many people in today's world experience.
Glass: This is a relatively new prize, having only been launched in 2018, but it has already established itself as a major event in the glass world. What does receiveing it mean to you?
Pak: The fact that the jury acknowledged and raised awareness of my work, which in some ways belongs more to the field of contemporary art than to glass art, is not only a recognition but a tremendous confirmation for me, personally, to continue searching for the intangible, sensible, and truthful in this poetic material.
My work Rêveries will remain in the amazing museum of the Toyama Glass Museum as part of its collection, it will have the most beautiful home, and this leaves me breathless. I am so grateful to the exhibition organizers and the executive committee of the Toyama International Glass Exhibition Prize, who I congratulate on this incredible achievement of putting together such a demanding, strong, and important international competition and exhibition. I am confident that I can say this on behalf of all my wonderful fellows at this exhibition, we are all so honored to be in the company of such strong works and amazing artists, some of them being my friends.
Glass: So you traveled to Japan to receive the award, and I would be interested in your thoughts and impressions of what Toyama is like, as it is being billed as "Japan's Glass City," something that has been developed between Toyama Institute of Glass Art, subsidized glass artist studios, and, of course, the Toyama Glass Art Museum. What was it like to spend time there?
Pak: I was thrilled to be invited to Japan for this special visit, as I have always deeply admired its refined culture, tradition, sensitivity, and natural beauty. I feel incredibly privileged to have been given such a fantastic opportunity to explore it more in-depth and to work with the team on-site.
I was impressed by the kindness of people who were always willing to help. I was learning all the time about the layers and finesses of expression and communication, which are so sensitively woven into Japanese culture. The team has put incredible effort into installing my work, and to assure its most perfect presentation. I am deeply grateful for their commitment and dedication. The award ceremony was beautiful and touching. I was so happy to meet the distinguished guests as well as my fellow artists and friends.
Toyama as a Glass City impressed me. The architect of the museum is Kengo Kuma, and the design of the building really presents and promotes the museum and the glass art within it well. Honestly, I was overwhelmed by the Institute of Glass and the Studio. What an incredible support and visionary thought of building a society that has knowledge, appreciation and respect for glass art the city has done! It is a great example of how to support and keep creativity in the area among all generations, also helping young people to become independent with their work.
have always loved Japanese cuisine and indulged in its variety of dishes. I was impressed by the visit of the 21st century Museum and Dr. Suzuki’s Museum in Kanazawa. I studied the Zen Gardens extensively for a week that followed the opening, and since my return, I have been studying books and writings on them, almost wishing to go back and feel it on the spot again. I am already incorporating these experiences into my creative work. I left Toyama with the warmest and most beautiful memories, and I am already looking forward to returning one day.