— What I’ve always really been interested in is space. Even when I made a single Cylinder or Macchia, my interest was always in space. I was thinking not of the object itself, but how the object would look in a room. What I’m looking forward to is opening the ovens in the morning and taking the pieces out and then being able to work with them. Putting them together. 1998
Chihuly at the Palm House Royal Botanic Gardens, Kew, 1976
Removing excess glass from gather The Boathouse hotshop Seattle, Washington, 1998
The Work Chandeliers and Towers
11 33 67 79 87
111 119 133 153 175
Glass colour rods at the Boathouse hotshop Seattle, Washington
— Foreword by Paul Smith
manages to create out of glass and the colours he puts together. The whole thing is truly amazing.
When I was asked to talk about Dale’s work, first of all it was a great privilege; secondly we definitely seem to run on parallel lines. He is a man who loves shape, form and colour – especially colour. His use of colour is exceptional. What I think is really great about the book is the way Dale himself talks about his artwork and seeing it being produced in the hotshop by him and his team. Just look at the shapes that he
Dale is someone I have got to know and admire greatly. Having experimented so much throughout his long career, his use of colour, scale and form is outstanding - like no other. I really hope you enjoy the book - as I do! Every page is so exciting.
above Chihuly and Paul Smith, London, 2013
Chihuly and James Mongrain The Boathouse hotshop Seattle, Washington, 1998
— The Work
Chandeliers and Towers
I tend to do things on a large scale because it’s exciting. I like to push things in new and different ways.
Chihuly’s fascination with the chandelier form has been ongoing since 1992; a critical development occurred in 1995 when, as the first stage of the Chihuly Over Venice project, held in the small village of Nuutajärvi, Finland, the blown elements were suspended from freestanding armatures. Although these sculptures were not officially known as Towers until two years later, the series essentially has enabled Chihuly to create monumental assemblages in excess of fifty-five feet in height. Davira Taragin
— I like to deal with the crowds off the streets who enter public buildings. It’s a tremendous challenge and joy to get them involved in looking—to hold their attention. 1997
— What makes the Chandeliers work for me is the massing of colour. If you take hundreds of blown pieces of one colour, put them together, and then shoot light through them, now that’s going to be something to look at! When you hang it in space, it becomes mysterious, defying gravity, becoming something you have never seen before. 1996
Chandelier part in process The Boathouse hotshop Seattle, Washington, 1998
— Artists have to be completely unafraid to test the ideas that they have. Artists have to keep pushing the envelope and not be afraid to do what comes to them. 2000
To be a good glassblower, you a leader because you have to learn leadership qualities: how to people. Otherwise you won’t So that’s part of what glassblowe each other, how to help out each It helps to be athletic. But mo It’s so spontaneous. It’s so immed who works with it—there’s a sen danger and excitement.
ctually have to be somewhat of run the team. So you have to encourage people, how to inspire ave a good team behind you. s have to learn—how to work with ther. Also, it’s physical, hard work. tly you want to be motivated. ate. Glass inspires almost anybody e of accomplishment and there’s It’s all one package. 2001
Persian Ceiling , 1999 35 x 14½'
Chihuly Garden and Glass , Seattle, Washington, 2012
2 — Persians
There’s something about putting the pieces overhead, on top of the plate glass, that makes you think of the sea—it’s sort of the reverse of having the glass underwater. There’s a feeling of water—at least there is to me. I suppose somebody else could think it’s something they might have seen in the sky or in a dream.
Chihuly began the Persian series in 1986 while experimenting with new forms. Originally, he displayed Persians in pedestal compositions, often with smaller shapes nested in larger pieces. Now, working with architectural frameworks, he suspends them as overhead Chandelier and Ceiling compositions and mounts larger forms to walls as seen with his Persians Walls and his new Persian Crescent artworks.
James Mongrain, Eric Pauli, and Chihuly The Boathouse hotshop Seattle, Washington, 2000
— I’ve done a lot of shows in museums around the world and increased the visibility of glass to the public—showing that a glass form is not, shall we say, just a functional vessel or a little bubble, but it can be many different things to many different people.
I don’t really know where the i from many different places. I am glassblowing process. This wo air down a blowpipe and out co material in the world that can b process for a very magical materi and out comes a new shape. The able to heat it up and work it w and fire. There is nothing even r and there is nothing like glass it to work it. You’re really working i tool—it’s the heat of the glory h and the blow-torches, and centrif these forms. And this is someth with—to stay away from the tool of the glass and the natural make the
eas come from, as they come inspired by the glass itself—the drous event of blowing human es this form. There’s no other blown like glass. It’s a unique l. You just blow into this blowpipe once it’s put on a punty, you are th centrifugal force and gravity motely similar to glassblowing, elf, and this ability of being able with fire, itself. Fire is really the le, and the heat of the furnace, gal force and gravity opening up ng that I’ve always tried to work and to use the natural materials elements of fire and heat to orms. 1992
— When you’re working with transparent materials, when you’re looking at glass, plastic, ice or water, you’re looking at light itself. The light is coming through, and you see that cobalt blue, that ruby red, whatever the colour might be—you’re looking at the light and the colour mix together. 1999
Persian in process The Boathouse hotshop Seattle, Washington, 1998
The only explanation I’m ever able to give about where things come from is
‘energy’. That has to come out in one way or another. Sometimes it’s more destructive, sometimes it’s more beautiful, sometimes more creative. Energy can go in so many directions, and you have to harness it. Correction! You don’t harness it, you use it. You put it to good use. 1998
— I don’t know if something can be too colourful.
— For centuries people have been fascinated with glass. It’s like a gem, but fragile. Glass has history, it has life, it’s from the earth.
— I think of myself maybe more as an explorer than an artist in some ways. Or maybe an artist and an explorer are the same thing. Like an explorer, you don’t want to go to places you’ve already been; you want to go someplace new. On the other hand, you want to develop the idea as much as you can before you leap.
The glassblowing process of m spinners is symmetrical, up unt a tour de force technically. When pounds—that’s a lot of glass on is applied in two or three differe on. And then it’s transferred fro meantime, we have a peg that’s that will eventually go into a pip with the other colours on the pun you heat it up in the 2500-degree symmetrical. But as it opens and force, fire, heat and gravity, i Something eventually h this organi
king the Persian and Seaform l the very end. These pieces are ou blow them they weigh 20 or 30 he end of a blowpipe. The colour t ways. Then the bodywrap is put the blowpipe to the punty. In the een made, it’s part of the piece, . You have this bodywrap working y. Then the lip wrap goes on. Then furnace, you spin it open and it’s pens and opens, with centrifugal cannot remain symmetrical. s to give. And so you get shape. 1998
— I remember getting a call from the curator at the Metropolitan Museum—this was in 1976—Henry Geldzahler—who said that he had seen some photographs of my work and that he’d be interested in buying some for the Met, and would I come to New York and show him some work, which I did, and he did buy three pieces. That particular purchase and connection meant a great deal to me.
— I’m still amazed to see the first breath of air enter the hot gather of glass on the end of a blowpipe. 1996
Team members attaching Persians to armature Chihuly Studio, Seattle, Washington, 2007
3 — Seaforms
Glass itself is so much like water. If you let it go on its own, it almost ends up looking like something that came from the sea.
With the use of optic moulds to increase the strength of the thin-walled glass and the shift in colour to whites, pinks and greys, the Baskets metamorphosed into the Seaforms . Chihuly recalls that this was an unconscious process, but immediately recognised the aesthetic potential. In many ways the Seaforms represent the apogee of Venetian-style glass with their delicacy.
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Chihuly, Paul DeSomma, and Richard Royal Pilchuck Glass School Stanwood, Washington, 1987
We started using optic moulds blow the glass into—and then th shells. It was really an acciden the shells, as I recall. But as soo to look like shells and things fr the transparency of the glass became impor
ribbed moulds that we would Baskets started looking like the , that they started looking like as I saw that the Baskets began m the sea, I pushed the idea of nd the sea and that connection ant to me. 1992
— Glass is defined as a super-cooled liquid. And it’s transparent, like water. And so the idea that the objects end up looking like they came from the sea is no accident. It is almost like water itself.
Blue and Pink Marlins (detail), 2012 69 x 94 x 29" Dallas Arboretum, Dallas, Texas
4 — Fiori
Over time I developed the most organic, natural way of working with glass, using the least amount of tools that I could. The glass looks as if it comes from nature.
The Fiori series first appeared as Mille Fiori (Italian for a thousand flowers) in an installation at the Tacoma Art Museum in 2003. Chihuly creates spectacular installations that are true gardens of glass. The new wall-mounted Fiori see him further his experimentation with colour and form combinations.
— A lot of work I do is nature inspired or looks like it might come from nature, but I don’t look specifically at something to make it. I just sort of have a natural feeling for using glass—trying to take advantage of the colour and transparency that glass offers and the ability of this ancient, magical material to be blown with human breath. 1997
Chihuly drawing at the Boathouse Seattle, Washington, circa 1992
5 — Drawings
You can more directly sense my energy in my drawings than in any other way perhaps. And from the very beginning, the drawings were done, as my glass is done, very quickly, very fast.
If you look at the history of my drawings, you’ll see that they started off in the late ’70s with working with graphite, charcoal, simple things, showing the glassblowers how to work, and they got more complicated. Then the Venetians were made, and I made drawings that really looked like the Venetians . Then I started working with colour and acrylics. The drawings got wilder, and larger, and less related to the work itself, although inspired by my glass and other things. They became more abstract. It’s very simple to look at the progression of the drawings, probably easier than to look at the progression of my glasswork. Dale Chihuly
— I don’t know what it is about drawing. It is a very physical thing. You get into it. It’s like a workout—you know? You start sweating and working with it. The bigger the drawings are, the more physical they are. 1992
— The drawings have given me a new freedom—if I can do it on paper, I can do it with the glass. 1991
— I think the drawings play a very central role in my creativity. If I didn’t draw, I don’t think the work would have progressed at the rate or in the directions that the work has gone. The drawings are a really major part of my work. 1998
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Acrylic Drawing Wall , 2012 Collections Café at Chihuly Garden and Glass Seattle, Washington
I started off with graphite pe and the Persians. Then I switch And then I began to add some col and then liquid acrylics. And the Artist Colors] acrylics about ten they made these liquid paints. T I believe. Then I started painti squirting the paint out. But I wou mops and brooms aroun implements to
cils for the Seaform drawings, d to charcoal for the Venetians. ur, probably watercolours initially, I really got into Golden [Golden ears ago when I discovered that ey were the first ones to do that, g with the container itself, just d always have sponges, brushes, if I wanted to use other draw with. 1998
Chihuly with Ikebana Honolulu Academy of Arts Honolulu, Hawaii, 1992
6 — Ikebana
I took my Venetians and added long-stemmed glass flowers and leaves, which evolved into my Ikebana series.
The Ikebana series began in 1989 as a development of the Venetians . Long flower-like glass stems were set in the Venetians , which were soon replaced by simpler, gourd-like vessels. The title refers to the Japanese art of flower arranging.
— I love to juxtapose the man-made and the natural to make people wonder and ask, ‘Are they man-made or did they come from nature?’ That’s a very important part of my work. 1998
— We could only take the Venetian vases to about four feet, and only so complex. We pushed it as far as we could with the Venetians. The only other thing we could do was make separate parts and add them into it. And that’s really where the term Ikebana comes from. 1998
7 — Soft Cylinders
The moment the molten glass comes down and fuses onto the rigid glass drawing, everything becomes liquid and fluid—it all takes place in a few seconds.
Chihuly began the Soft Cylinder series in 1984. They combine the glass ‘pick up’ drawing technique from Chihuly’s earlier Cylinders with the softer, sagging forms of his Baskets and Seaforms and the bright contrasting colours of his Macchia .
Black Soft Cylinder in process The Boathouse hotshop Seattle, Washington, 2006
— The drawings on the Cylinders are very spontaneous and molten and rely on chance and gravity, like the work that followed. Those drawings are very much in the fashion that I like to work, which is quick and immediate and spontaneous, with an element of chance. 1986
Black Soft Cylinder in process The Boathouse hotshop Seattle, Washington, 2006
8 — Baskets
I was struck by the grace of their slumped, sagging forms [Northwest Coast Indian baskets]. I wanted to capture this grace in glass.
Inspired by seeing Northwest Coast Indian baskets piled inside each other in the storerooms of the Washington State Historical Society, Chihuly's Baskets were an attempt to simulate the woven forms that had sagged under their own weight. This was the first time Chihuly grouped vessels into sets.
Richard Royal and Chihuly Pilchuck Glass School Stanwood, Washington, 1988
[The Baskets were] really th Probably the most innovational to begin to form glass with fi with centrifugal force. Just hu this miraculous material, blowing and more, pushing its limits, then putting it back in the furna it so hot that it would almos I was pushing the edge of t making ne
breakthrough series for me. thing I’d ever done in glass was e, with gravity, with heat and an breath was going down into it up, and then expanding it more aking it as thin as I could, and e, or the glory hole, and getting collapse and begin to move. inness and collapsibility in forms. 1998
— I knew that if I made the Baskets thin
I could manipulate them more. First I would bang them with a paddle to beat them up a bit. But I soon learned that if I just used the heat of the furnace and the fire, I could get the same kind of movement from the fire itself, and it was more beautiful. 1998
— Glass is one of the only materials that light goes through, and colours can be so intense or so subtle. 2006
Pipe warmer at the Boathouse Seattle, Washington, 2008
— It’s important that we lose pieces. You get there faster, I think, by losing pieces because you’re pushing yourself and you know how far to come back. 1991
— I can’t understand it when people say they don’t like a particular colour. How on earth can you not like a colour? 1996
— The Baskets went on to inform many of the series that followed. The Seaforms, Macchia and Soft Cylinders all came directly from the style of blowing that I had developed for the Baskets. This blowing technique was the result of my trying to make the forms appear as natural as possible, using as few tools as I could. This meant letting glass find its own form, so that the pieces could appear very fragile and natural. 2000
9 — Macchia
The Macchia series began with my waking up one day and wanting to use all 300 colours in the hotshop.
Lusciously, even garishly coloured Macchia replaced the delicate Seaforms when Chihuly decided to use all 300 colours of glass commercially available. Macchia is Italian for ‘spot’ or ‘speckled’. The Macchia are distinguished by multi-coloured spots and the use of contrasting hues on interior and exterior, separated by a layer of white chunks of glass (‘clouds’). A lip wrap of yet another colour outlines the opening of the vessel.
Chihuly and William Morris Pilchuck Glass School Stanwood, Washington, 1985
— I love the idea that just a single piece of glass could be a sculpture that would command energy and space and attention. 1998
— I experimented with putting a layer of ‘white clouds’ over the colour. It allowed the colour to become completely saturated over a neutral, white backdrop. It also enabled me to have one colour on the inside and another colour on the outside without any blending of the colours. 1992
Chihuly and William Morris Pilchuck Glass School Stanwood, Washington, 1985
— I often show the Macchia in what we call a ‘Macchia Forest’, where a half dozen, even 50 of them, can be together on different sized stands. We use one light from above, and they appear to be glowing from below, because the glass sucks in the light and transmits it down into the Macchia. 1998
Chihuly and William Morris Pilchuck Glass School Stanwood, Washington, 1985
— To blow out a Macchia is really something, because it remains very symmetrical, a ball about two feet in diameter. And then, in the final reheat, you go in and it gets hot, hotter, hotter, and you have to move it faster, faster, and the ball begins to open, open, open, and it gets opened to about four feet. Then you hold it down, and then the wrinkles and the forms take place. 1998
— We took it [the Macchia] to a level where we could use combinations of colours that no one ever used before. Glass is extraordinarily unique in terms of its capabilities in colour. 1997
Blue Neon Tumbleweed , 2010 72 x 83 x 82"
Morean Arts Center, St. Petersburg, Florida
10 — Neon
I had done several projects with neon and argon and I just like its brightness and energy. Talk about a form of light! I mean, neon is light itself. But, of course, neon couldn’t exist without glass.
Neon and argon gases in glass provide Chihuly with another way of working with colour, one he has explored since the late 1960s. Neon (red to orange) and argon (whitish blue) generate their own specific hues, and the glass can be coloured or coated with fluorescent powder to achieve additional colour variations.
Persian Crescent (detail), 2013 77 x 52 x 20 ʺ 195.6 x 132.1 x 50.8 cm
P. 80 Amber Jade Herons , 2013 60 x 48 x 13 ʺ 152.4 x 121.9 x 33 cm P. 81 Carmine Red Fiori , 2013 70 x 60 x 13 ʺ 177.8 x 152.4 x 33 cm P. 82 Indigo Trumpet Fiori , 2013 57 x 48 x 13 ʺ 144.8 x 121.9 x 33 cm P. 84 Striped Periwinkle Fiori , 2013 61 x 60 x 13 ʺ 154.9 x 152.4 x 33 cm
P. 10 Amethyst Icicle Tower (detail), 2013 12 x 6 x 5½ ʹ 375.9 x 177.8 x 167.6 cm
P. 50 Paris Yellow Persian Set with Red Lip Wraps , 1996 13 x 22 x 20 ʺ 33 x 55.9 x 50.8 cm
P. 12 Aero Blue Chandelier
with Cerise Pink Reeds (detail), 2013 11 x 13 x 8 ʹ 330.2 x 391.2 x 243.8 cm
P. 52 Tangerine Orange Persian Set
with Supreme Blue Lip Wraps , 2002 11 x 23 x 18 ʺ 27.9 x 58.4 x 45.7 cm
P. 15 Aero Blue Chandelier
with Cerise Pink Reeds , 2013 11 x 13 x 8 ʹ 330.2 x 391.2 x 243.8 cm
P. 53 Lime Green Persian Set
with Cherry Lip Wraps , 2000 10 x 24 x 17 ʺ 25.4 x 61 x 43.2 cm
P. 16 Citron Chandelier
with Lime Green Fiori (detail), 2013 11½ x 10 x 6 ʹ 348 x 312.4 x 188 cm
P. 85 Tiger Marlin Fiori , 2013 61 x 60 x 13 ʺ 154.9 x 152.4 x 33 cm
P. 55 White and Sunrise Orange Persian Set , 2011 11 x 22 x 23 ʺ 27.9 x 55.9 x 58.4 cm P. 58 Royal Yellow Persian Set with Sable Lip Wraps , 2002 11 x 24 x 23 ʺ 27.9 x 61 x 58.4 cm
P. 18 Citron Chandelier
with Lime Green Fiori , 2013 11½ x 10 x 6 ʹ 348 x 312.4 x 188 cm
P. 88 Float Drawing , 2011 Mixed Media on Paper 42 x 30 ʺ 106.7 x 76.2 cm P. 89 Float Drawing , 2011 Mixed Media on Paper 42 x 30 ʺ 106.7 x 76.2 cm P. 91 Chandelier Drawing Made in Vianne, France , 1997 Mixed Media on Paper 60 x 40 ʺ 152.4 x 101.6 cm P. 92 Ireland Drawing , 1995 Mixed Media on Paper 60 x 40 ʺ 152.4 x 101.6 cm P. 93 Ireland Drawing , 1995 Mixed Media on Paper 60 x 40 ʺ 152.4 x 101.6 cm P. 94 Ikebana Doppio Drawing , 1998 Mixed Media on Paper 84 x 30 ʺ 213.4 x 76.2 cm P. 94 Reed Doppio Drawing , 2012 Mixed Media on Paper 84 x 30 ʺ 213.4 x 76.2 cm
P. 22 Cranberry Spire Chandelier (detail), 2013 76 x 76 x 75 ʺ 193 x 193 x 190.5 cm P. 25 Cranberry Spire Chandelier , 2013 76 x 76 x 75 ʺ 193 x 193 x 190.5 cm
P. 60 Ruby Persian Set
with Lapis Lip Wraps , 2012 13 x 31 x 26 ʺ 33 x 78.7 x 66 cm
P. 25 Amethyst Icicle Tower , 2013 12 x 6 x 5½ ʹ 375.9 x 177.8 x 167.6 cm
P. 64 Cadmium Red Persian Set
with Lamp Black Lip Wraps , 2012 9 x 28 x 18 ʺ 22.9 x 71.1 x 45.7 cm
P. 26 Cerulean Cobalt Chandelier (detail), 2013 60 x 66 x 63 ʺ 152.4 x 152.4 x 152.4 cm P. 30 Lumiere Blue Chandelier (detail), 2013 60 x 64 x 63 ʺ 152.4 x 152.4 x 152.4 cm
P. 66 Gossamer White Seaform Set with Oxblood Ribs , 1981 10 x 26 x 22 ʺ 25.4 x 66 x 55.9 cm
P. 70 Spitfire Red Seaform Set
with Carbon Lip Wraps , 2001 13 x 30 x 16 ʺ 33 x 76.2 x 40.6 cm
P. 36 Castilian Red
Persian Crescent (detail), 2013 68 x 44 x 17 ʺ 172.7 x 111.8 x 43.2 cm
P. 71 Paris Yellow Seaform Set with Red Lip Wraps , 1996 16 x 31 x 17 ʺ 40.6 x 78.7 x 43.2 cm
P. 39 Castilian Red Persian Crescent , 2013 68 x 44 x 17 ʺ 172.7 x 111.8 x 43.2 cm
P. 72 Deep Cobalt Seaform Set
P. 42 Baltic Blue
with Carnelian Lip Wraps , 1998 11 x 21 x 13 ʺ 27.9 x 53.3 x 33 cm
Persian Crescent (detail), 2013 68 x 46 x 17 ʺ 172.7 x 116.8 x 43.2 cm
P. 76 Blue Chill Seaform Set
P. 44 Imperial Yellow
P. 96 Float Drawing , 2011 Mixed Media on Paper 42 x 30 ʺ 106.7 x 76.2 cm
with Marigold Lip Wraps , 2002 19 x 36 x 32 ʺ 48.3 x 91.4 x 81.3 cm
Persian Wall (detail), 2013 6 x 26 ʹ 182.9 x 797.6 cm
P. 159 Copper Yellow Macchia with Cobalt Lip Wrap , 2012 20 x 27 x 30 ʺ 50.8 x 68.6 x 76.2 cm P. 160 Kasseler Yellow Macchia with Ruby Lip Wrap , 2012 19 x 30 x 30 ʺ 48.3 x 76.2 x 76.2 cm P. 164 Shaded Forest Macchia with Yellow Lip Wrap , 2013 19 x 33 x 29 ʺ 48.3 x 83.8 x 73.7 cm
P. 124 Black Umber Soft Cylinder
P. 97 Float Drawing , 2011 Mixed Media on Paper 42 x 30 ʺ 106.7 x 76.2 cm P. 99 Reed Drawing , 2011 Mixed Media on Paper 42 x 30 ʺ 106.7 x 76.2 cm
with Pale Green Lip Wrap , 2013 23 x 19 x 19 ʺ 58.4 x 48.3 x 48.3 cm
P. 127 Black Scarlet Soft Cylinder with Yellow Lip Wrap , 2013 18 x 16 x 15 ʺ 45.7 x 40.6 x 38.1 cm
P. 102 Reed Drawing on Acrylic , 2013 Mixed Media on Acrylic Plexiglas 52 x 43 ʺ 132.1 x 109.2 cm P. 103 Reed Drawing on Acrylic , 2013 Mixed Media on Acrylic Plexiglas 52 x 43 ʺ 132.1 x 109.2 cm P. 106 Float Drawing on Acrylic , 2013 Mixed Media on Acrylic Plexiglas 52 x 43 ʺ 132.1 x 109.2 cm P. 107 Float Drawing on Acrylic , 2013 Mixed Media on Acrylic Plexiglas 52 x 43 ʺ 132.1 x 109.2 cm P. 108 Float Drawing on Acrylic , 2013 Mixed Media on Acrylic Plexiglas 52 x 43 ʺ 132.1 x 109.2 cm P. 109 Float Drawing on Acrylic , 2013 Mixed Media on Acrylic Plexiglas 52 x 43 ʺ 132.1 x 109.2 cm
P. 130 Black Chrome Orange Soft Cylinder with Wintergreen Lip Wrap , 2013 19 x 16 x 14 ʺ 48.3 x 40.6 x 35.6 cm
P. 167 Spinel Red Macchia with
Cassel Yellow Lip Wrap , 2013 21 x 30 x 29 ʺ 53.3 x 76.2 x 73.7 cm
P. 132 Fire Orange Basket Set (detail), 2013 26 x 26 x 22 ʺ 66 x 66 x 55.9 cm
P. 170 Poppy Orange Macchia with Yellow Lip Wrap , 2013 19 x 29 x 22 ʺ 48.3 x 73.7 x 55.9 cm P. 173 Shaded Orange Macchia with Turquoise Lip Wrap , 2013 22 x 34 x 31 ʺ 55.9 x 86.4 x 78.7 cm
P. 138 Fire Orange Basket Set , 2013 24 x 25 x 27 ʺ 61 x 63.5 x 68.6 cm P. 140 Fire Orange Basket Set , 2013 14 x 32 x 31 ʺ 35.6 x 81.3 x 78.7 cm P. 143 Fire Orange Basket Set , 2013 26 x 26 x 22 ʺ 66 x 66 x 55.9 cm P. 146 Fire Orange Basket Set , 2013 27 x 21 x 21 ʺ 68.6 x 53.3 x 53.3 cm
P. 176 Sapphire Neon
Tumbleweeds (detail), 2013 Glass and Neon 9 x 10 x 6 ʹ 266.7 x 312.4 x 190.5 cm
P. 178 Sapphire Neon Tumbleweeds , 2013 Glass and Neon 9 x 10 x 6 ʹ 266.7 x 312.4 x 190.5 cm
P. 149 Cardinal Red Basket Set
with Raven Lip Wraps , 2002 19 x 25 x 25 ʺ 48.3 x 63.5 x 63.5 cm
P. 112 Silvered Lilac Ikebana with Gilded Stems , 2013 73 x 40 x 19 ʺ 185.4 x 101.6 x 48.3 cm P. 114 Silvered Rose Ikebana with Gilded Stems , 2013 37 x 52 x 19 ʺ 94 x 132.1 x 48.3 cm
P. 150 Castilian Red Basket Set
with Granite Lip Wraps , 2000 19 x 19 x 13 ʺ 48.3 x 48.3 x 33 cm
P. 117 Spotted Gilt Blue Ikebana , 2002 49 x 45 x 15 ʺ 124.5 x 114.3 x 38.1 cm
P. 152 Salmon Macchia with
Columbia Blue Lip Wrap (detail), 2012 20 x 35 x 34 ʺ 50.8 x 88.9 x 86.4 cm
7. Soft Cylinder
P. 157 Salmon Macchia with
P. 118 Black Amethyst Soft Cylinder
Columbia Blue Lip Wrap , 2012 20 x 35 x 34 ʺ 50.8 x 88.9 x 86.4 cm
with Turquoise Lip Wrap (detail), 2013 23 x 18 x 18 ʺ 58.4 x 45.7 x 45.7 cm
P. 158 Deep Rose Macchia with Cypress Lip Wrap , 2012 20 x 32 x 28 ʺ 50.8 x 81.3 x 71.1 cm
P. 123 Black Amethyst Soft Cylinder with Turquoise Lip Wrap , 2013 23 x 18 x 18 ʺ 58.4 x 45.7 x 45.7 cm
Dale Chihuly drawing in Saint Croix U.S. VirginIslands, 1997
1941 Born September 20 in Tacoma, Washington, to George Chihuly and Viola Magnuson Chihuly. 1957 Older brother and only sibling, George, dies in a navy flight-training accident in Pensacola, Florida. 1958 His father suffers a fatal heart attack at age fifty-one, and his mother has to go to work. 1959 Graduates from high school in Tacoma. Enrolls at College of Puget Sound (now University of Puget Sound) in his hometown. 1960 Transfers to University of Washington in Seattle to study interior design and architecture. 1961 Joins Delta Kappa Epsilon fraternity and becomes Rush Chairman. Learns to melt and fuse glass. 1962 Chihuly interrupts his studies and travels to Florence to focus on art. Unable to speak Italian, he moves on to the Middle East. 1963 Works on a kibbutz in Negev Desert, Israel. Re-inspired, returns to University of Washington and studies under Hope Foote and Warren Hill. In a weaving class with Doris Brockway, he incorporates glass shards into woven tapestries. 1964 Returns to Europe, visits Leningrad, and makes the first of many trips to Ireland. 1965 Receives B.A. in Interior Design from University of Washington. In his basement studio, Chihuly blows his first glass bubble by melting stained glass and using a metal pipe. 1966 Works as a commercial fisherman in Alaska. Enters University of Wisconsin at Madison and studies glassblowing in the first glass program in the United States, taught by Harvey Littleton. 1967 Receives M.S. in Sculpture from University of Wisconsin. Enrols at Rhode Island School of Design (RISD) in Providence, where he begins exploration of environmental works using neon, argon, and blown glass. Awarded a Louis Comfort Tiffany Foundation Grant for work in glass. Italo Scanga, then teaching 1968 Receives M.F.A. in Ceramics from RISD. A Fulbright Fellowship enables him to travel and work in Europe later in the year. Spends the first of four consecutive summers teaching at Haystack Mountain School of Crafts in Deer Isle, Maine. Becomes the first American glassblower to work in the Venini factory on the island of Murano. 1969 Returns to Europe and meets glass masters Erwin Eisch in Germany and Jaroslava Brychtová and Stanislav Libenský in Czechoslovakia. Establishes the glass program at RISD, where he teaches for the next eleven years. in Pennsylvania State University’s Art Department, lectures at RISD, and the two start a lifelong friendship.
1968 Chihuly in Venice, Italy
1971 Chihuly and Italo Scanga
Rhode Island School of Design Providence, Rhode Island
1970 Meets James Carpenter, a student in RISD Illustration Department, and they begin a four-year collaboration. 1971 On the site of a tree farm owned by Seattle art patrons Anne Gould Hauberg and John Hauberg, the Pilchuck Glass School experiment is started. Pilchuck Pond , Chihuly’s first environmental installation at the school, is created that summer. In fall, at RISD, he makes 20,000 Pounds of Ice and Neon , Glass Forest #1 , and Glass Forest #2 with James Carpenter, installations that prefigure later environmental works by Chihuly. 1972 Collaborates with James Carpenter on more large-scale architectural projects. They create Rondel Door and Cast Glass Door at Pilchuck and Dry Ice , Bent Glass and Neon , a conceptual breakthrough, in Providence. 1974 Working at Pilchuck with James Carpenter and a group of students, with the support of a National Endowment for the Arts grant, he develops a technique to pick up glass thread drawings to incorporate into larger glass pieces. In December at RISD, he completes his last collaborative project with Carpenter, Corning Wall . 1975 At RISD, begins Navajo Blanket Cylinder series. Kate Elliott and, later, Flora C. Mace fabricate the complex thread drawings. He receives the first of two National Endowment for the Arts Individual Artist grants. Artist-in-residence with Seaver Leslie at Artpark, on the Niagara Gorge, in New York State. Begins Irish Cylinders and Ulysses Cylinders with Leslie and Mace. 1976 A car accident in England leaves him, after weeks in the hospital and 256 stitches in his face, without sight in his left eye and with permanent damage to his right ankle and foot. After recuperating, he returns to Providence to serve as head of the Department of Sculpture and the Program Metropolitan Museum of Art in New York, acquires three Navajo Blanket Cylinders for the museum’s collection—a turning point in Chihuly’s career and the start of a friendship between artist and curator. 1977 Inspired by Northwest Coast Indian baskets he sees at Washington State History Museum in Tacoma, he begins the Basket series at Pilchuck, with Benjamin Moore as gaffer. Continues teaching in both Rhode Island and the Pacific Northwest. 1978 Meets Pilchuck student William Morris, and the two begin a close, eight-year working relationship. A solo show curated by Michael W. Monroe at the Renwick Gallery, Smithsonian Institution, in Washington, D.C., is another career milestone. in Glass at RISD. Henry Geldzahler, curator of contemporary art at the
1971 Pilchuck Glass School Stanwood, Washington
1975 Kate Elliott, Kevin Gleason, and Chihuly Rhode Island School of Design Providence, Rhode Island
1979 Dale Chihuly
Rhode Island School of Design Providence, Rhode Island
1980 Dale Chihuly designing windows for Shaare Emeth Synagogue St. Louis, Missouri
1979 Dislocates his shoulder in a bodysurfing accident and relinquishes the gaffer position for good. WilliamMorris becomes his chief gaffer for several years. Chihuly begins to make drawings as a way to communicate his designs. 1980 Resigns his teaching position at RISD but returns periodically in the 1980s as artist-in- residence. Begins Seaform series at Pilchuck. In Providence, creates another architectural installation: windows for Shaare Emeth Synagogue in St. Louis, Missouri. 1981 Begins Macchia series. 1982 First major catalogue is published: Chihuly Glass , designed by RISD colleague and friend Malcolm Grear. 1983 Returns to Pacific Northwest after sixteen years on East Coast. Further develops Macchia series at Pilchuck in fall and winter, with William Morris as chief gaffer. 1984 Begins work on Soft Cylinder series, with Flora C. Mace and Joey Kirkpatrick executing the glass drawings. Honoured as RISD President’s Fellow at the Whitney Museum in New York. 1985 Purchases the Buffalo Shoe Company Building on the east side of Lake Union in Seattle and begins restoring it for use as a primary studio and residence. 1986 Begins Persian series with Martin Blank as gaffer, assisted by Robbie Miller. With Dale Chihuly Objets de Verre at Musée des Arts Décoratifs, Palais du Louvre, in Paris, he becomes the fourth American artist to have a one-person exhibition at the Louvre. 1987 Establishes his first hotshop in Van de Kamp Building near Lake Union in Seattle. Donates permanent collection to Tacoma Art Museum in memory of his brother and father. Marries playwright Sylvia Peto. 1988 Inspired by a private collection of Italian Art Deco glass, Chihuly begins Venetian series. Working from Chihuly’s drawings, Lino Tagliapietra serves as gaffer. 1989 With Italian glass masters Lino Tagliapietra, Pino Signoretto, and a team of glassblowers at Pilchuck, begins Putti series. With Tagliapietra, Chihuly creates Ikebana series, inspired by travels to Japan and exposure to ikebana masters. 1990 Purchases historic Pocock Building on Lake Union, realizing his dream of being on the water in Seattle. Renovated and renamed The Boathouse, it serves as studio, hotshop, and archives. Returns to Japan. 1991 Begins Niijima Float series with Richard Royal as gaffer, creating some of the largest pieces of glass ever blown by hand. Completes architectural installations. He and Sylvia Peto divorce. 1992 Begins Chandelier series with a hanging
1983 Chihuly and William Morris Pilchuck Glass School Stanwood, Washington
1987 Flora C. Mace, Chihuly, and Joey Kirkpatrick Pilchuck Glass School Stanwood, Washington
sculpture at Seattle Art Museum. Designs sets for Seattle Opera’s 1993 production of Debussy’s Pelléas et Mélisande .
1993 With Lino Tagliapietra, begins Piccolo Venetian series. Creates 100,000 Pounds of Ice and Neon , a temporary installation in Tacoma Dome. 1994 Creates five installations for Tacoma’s Union Station Federal Courthouse. Supports Hilltop Artists, a glassblowing program in Tacoma for at-risk youths, created by friend Kathy Kaperick. Within two years, the program partners with Tacoma Public School District. glassblowing session in Nuutajärvi, Finland, and subsequent blow at Waterford Crystal factory, Ireland. Chihuly Over Venice culminates with fifteen Chandeliers installed around Venice. Creates his first permanent outdoor installation, Icicle Creek Chandelier . 1997 Expands series of experimental plastics he calls ‘Polyvitro’. Chihuly is designed by Massimo Vignelli and co-published by Harry N. Abrams, Inc., New York, and Portland Press, Seattle. Travels to Japan to blow glass at Niijima Glass Art Center and creates several temporary outdoor Float installations. 1998 Participates in Sydney Arts Festival in Australia. A son, Jackson Viola Chihuly, is born February 12 to Dale Chihuly and Leslie Jackson. Creates architectural installations for Benaroya Hall, Seattle; Bellagio, Las Vegas; and Atlantis, Bahamas. 1999 Begins Jerusalem Cylinder series with gaffer James Mongrain. Mounts an ambitious exhibition, Chihuly in the Light of Jerusalem 2000 , at Tower of David Museum of the History of Jerusalem. Builds a sixty-foot wall outside from twenty-four massive blocks of ice shipped from Alaska. 2000 Creates La Tour de Lumière sculpture as 1996 After a blow in Monterrey, Mexico, part of Contemporary American Sculpture exhibition in Monte Carlo. More than one million visitors enter Tower of David Museum to see Chihuly in the Light of Jerusalem 2000 , breaking the world attendance record for a temporary exhibition during 1999–2000. and Albert Museum, London. Groups a series of Chandeliers for the first time, as an installation for Mayo Clinic in Rochester, Minnesota. Presents his first major glasshouse exhibition, Chihuly in the Park: A Garden of Glass , at Garfield Park Conservatory, Chicago. Artist Italo Scanga dies after more than three decades as friend and mentor. 2002 Creates installations for Olympic Winter 2001 Chihuly at the V&A opens at Victoria Games in Salt Lake City. Chihuly Bridge of Glass , conceived by Chihuly and designed in collaboration with Arthur Andersson of Andersson‒Wise Architects, opens in Tacoma. 1995 Chihuly Over Venice begins with a
1992 Dale Chihuly with Ice and Neon Seattle, Washington
2001 V&A Chandelier 27 x 12½'
Victoria and Albert Museum, London
1995 Cobalt Blue Chandelier , 1995 5 x 6 x 3' Nuutajärvi, Finland
1999–2000 Overview, Tower of David Musuem, 1999 Jerusalem
2003 Begins Fiori series with gaffer Joey DeCamp for opening exhibition at Tacoma Art Museum’s new building. Museum designs a permanent space for its Chihuly artwork. Chihuly at the Conservatory opens at Franklin Park Conservatory, Columbus, Ohio. 2004 Orlando Museum of Art and Museum of Fine Arts, St. Petersburg, Florida, become first museums to collaborate and present complementary exhibitions of Chihuly’s artwork. Installs glasshouse and outdoor exhibition at Atlanta Botanical Garden. 2005 Marries Leslie Jackson. Installs major garden exhibition at Royal Botanic 2006 Mother, Viola, dies at age ninety-eight in Tacoma. Begins Black series with a Cylinder blow. Presents exhibitions at Missouri Botanical Garden, St. Louis, and New York Botanical Garden. Chihuly in Tacoma —hotshop sessions at Museum of Glass—reunites Chihuly and glassblowers from important periods of his career. 2007 Exhibits at Phipps Conservatory and Botanical Gardens, Pittsburgh. Creates stage set for Seattle Symphony’s production of Béla Bartók’s opera Bluebeard’s Castle . 2008 Presents major exhibition at de Young Museum, San Francisco. Returns to his alma mater with an exhibition at RISD Museum of Art. Exhibits at Desert Botanical Garden in Phoenix. 2009 Begins Silvered series. Presents garden exhibition at Franklin Park Conservatory, Columbus, Ohio. Participates in 53rd Venice Biennale with Mille Fiori Venezia installation. Creates largest commission with multiple installations at island resort of Sentosa, Singapore. 2010 Exhibits outdoors at Salk Institute for Biological Studies in La Jolla, California. Presents exhibitions at Frederik Meijer Gardens & Sculpture Park in Grand Rapids, Michigan, and Cheekwood Botanical Garden and Museum of Art, Nashville. 2011 Holds exhibitions at Museum of Fine Arts, Boston, and Tacoma Art Museum. 2012 Exhibits at Dallas Arboretum and Botanical Garden. Chihuly Garden and Glass , a long-term exhibition, opens at Seattle Center. Exhibits at Virginia Museum of Fine Arts, Richmond. 2013 Milwaukee Symphony Orchestra performs the opera Bluebeard’s Castle with set by Chihuly. Montreal Museum of Fine Arts holds exhibition of Chihuly art. Gardens, Kew, outside London. Exhibits at Fairchild Tropical Botanic Garden, Coral Gables, Florida.
2003 Dale Chihuly with Mille Fiori , 2003
2005–2006 Yellow and Scarlet Asymmetrical Towers , 2005 Royal Botanic Gardens, Kew