Theresa Jorgensen
Ansel Adams, The Tetons and the Snake River, Grand Teton National Park, Wyoming, 1942
The incredible detail of this work allows my mind to start to fill in details like colors or seasons. By sticking with primarily black, white, and grey and only introducing a grey blue I hope to encourage others to have the same experience. The mirrored plates and vessels around the vases allow the viewer to see the reflections of the landscape as if they are inside the scene Ansel Adams captured.
 ​(Instagram)

Sarah Cohen
Victoria Sambunaris, Untitled (Santa Elena Canyon), Big Bend National Park, Texas, 2010
I am inspired by the colors and the abstract shapes of the limestone cliffs. The cliffs coming together with the flow of water seem to reference mother nature giving life to the earth. A potential wifi tower in the landscape references the human impact in nature in the 21st century.
(Website | Facebook | Instagram)

Amanda Smithivas
Jordan Ann Craig, When He Sweats It Smells Like Cedar, 2025
This work was inspired by European glass “seed” beads used in Northern Cheyenne beadwork, which Craig draws upon in her painting, and by how the trading of these glass beads played a significant role in both the colonization of America and the revolution of Indigenous artistic expression.
(Website | Instagram)

Lyla Nelson
Jordan Ann Craig, Sharp Tongue It Hit Me Hard and Soft, 2024
Craig’s work is thoughtfully executed with precision, and her crisp painted lines allude to the sharpness of her sister’s tongue. This response in glass intends to reflect that clean, sharp quality while using colors that most closely resemble the original work.
(Website)

Caitlin Dolhi
Stephen Towns, The Pioneer, 2020
Responding to The Pioneer’s exploration of labor and the American Dream, a tattered flag symbolizes fragile ideals as flowers, vines and branches take root in the landscape and provide a home for the canaries. One takes flight showing resilience, hope, and renewal through perseverance despite decay and change.
(Website | Instagram)

Lauren Kalman
Cory Bonnet, J&L Steel: It’s a Blast!, 2023
As an artist that works with the body, I am exploring the labor within the factory. The clenched fist is a symbol of labor solidarity and the bodies behind the production of steel. The column of the arm mimics the smokestacks of the steel mill depicted in Bonnet’s painting
(Website | Instagram)

Ayako Hirogaki
John Kane, Hills and Rivers, Steamboat at Sleepy Hollow, 1929
The landscape depicted in the painting is detailed and specific, yet carries a stillness like a dream or memory. Hills veiled in clouds, steam, and smoke resonate with my use of countless glass rods, which blur the work’s contours and evoke a journey through an ambiguous landscape of memory and dreams.
(Website | Instagram)

Sandra Bacchi
Mildred Young Olmes, Madonna of the Mines, 1949
I Wish I Could See More Men Holding Babies explores the relationship between masculinity and caregiving. Through kilnformed glass forms and photographic decals, the work reflects on the cultural narratives that shape expectations of boys and men, inviting viewers to imagine caregiving as a visible, valued, and essential expression of masculinity.
 (Website | Instagram)

Shelby Zasacky
Aaron Harry Gorson, Industrial Scene, Pittsburgh, 1928
Gorson wrote about a smoky Pittsburgh of the 1920s: “it is beautiful nevertheless, and I will yet prove it to the world.” Like him, I arrived as an outsider and found unexpected beauty in the epic cloudscapes, gentle rivers, and hills dotted with millions of lights. This piece centers around both that unexpected beauty and the light in the darkness of that harsh period in history. Layers of glass, a material born of fire and air, trap tendrils of smoke-like color in a love letter to a city proven beautiful across nearly a century.
(Instagram)

Alyssa Kail
James Goodwyn Clonney, Mother’s Watch, around 1850
I am drawn to the attention to detail and variety in the textiles of the clothing and tablecloth in this painting. But what if this artwork had been made 100 years later? Pulling from Mid-Century Modern aesthetic and abstraction, my design highlights the shapes and textures present in the painting.
 (Website | Instagram)

Naz Khoury
Severin Roesen, Still Life with Fruit, around 1850–1860
Between the classrooms of art schools and major museums, painted still lives have firmly planted roots in the formal art world for centuries. Severin Roesen turned this subject matter into his life’s passion—his personal craft. As a craft form less than a century old, neon holds a commercial history and very recently is making waves as an art form. I am interpreting Roesen’s Still Life With Fruit through my own craft, nodding to Roesen’s vibrant color palette as well as neon’s transition from commercial display into figurative art depictions. On paper, paint and neon could not be more different—but perhaps this is not quite the truth.
(Website)

Jason Forck
William Merritt Chase, Lady in Pink, 1892
(Website | Instagram)
I chose to approach the work with a touch of whimsy.  My usual process rarely ventures into the figurative realm, and I don’t recall ever using pink glass in my work. The idea was to play with the proportions of the voluminous dress compared with the slender figure inside.

Adam Kenney
Charles Wilbert White, Mother Courage II, 1974
Inspired by Charles White’s Mother Courage II,I translate the painting’s themes of resilience, dignity, and protection into blown and engraved glass. The sculpture’s stylized, faceted form recalls armor, while layered blue tones evoke the symbolic strength of the figure’s cloak.
(Website | Instagram)

Alissa Eberle
John Marin, New York Series: From Weehawken Heights, 1951
Influenced by the sharp and energetic style of John Marin’s From Weehawken Heights, I was inspired to create an abstract city skyline that is depicted in the left portion of his painting using hand-pulled neon glass tubing and geometric stained glass and mirror-matching the sharp and expressive quality to his painting technique. I felt especially drawn to the left quadrant of his painting; lost in the dreamlike quality of the city off in the distance.
(Website | Instagram)

Bri Chesler
George Sosnak, Pittsburgh Pirates, 1978, featuring Harold “Pie” Traynor, Bill Mazeroski, and Roberto Clemente, 1978
Drawing inspiration from George Sosnak’s passion for baseball and his distinctive illustrative style, I want to capture his expressive mark-making, handwritten narratives, and densely layered aesthetic. As a tribute to Sosnak, I plan on shaping the glass with a baseball bat, embedding the spirit and joy of baseball into the sculpture
(Website | Instagram)