Jon Kuhn | Pastel Skies
Jon Kuhn

born 1949
Resides in Winston-Salem, North Carolina

Biography Statement
Jon Kuhn earned an MFA from Virginia Commonwealth University in 1972. He's been an independent studio artist since 1978. His work can be found in the following museums: The Metropolitan Museum of Art, New York City, the Museum Fur Kunst und Gewerbe, Hamburg and the Museé des Arts Decoratif, Lausanne, Switzerland.

His work is discussed in several publications including American Craft: Source Book for the Home, and Glass: State of the Art 1984 (and 1989).


Statement

Throughout my artistic career, my work has been reflective of my own evolving philosophy; influenced substantially by eastern mysticism. The mystics tell us that through meditation we find the "universe within." The ability of glass to visually contain pertinent or critical information beneath the surface makes it the ideal medium to express this concept. By looking inside, we get a different view or understanding of the exterior.

This idea is aptly expressed in the seminal piece of my career, "Little Rock River" from the 1979 Corning Museum New Glass Exhibition. The composition of the piece consists of a group of blown glass "rocks." One of the "rocks" was ground and polished to reveal a landscape, and by looking inside it, we get a broader view or understanding of a landscape.

This concept of internal imagery is the common thread that has woven through my work for the last 15 years. During the first series, (1977-1984) I explored several forms to express the idea of internal images. After I had taken this series as far as possible, I realized I needed something new in my work, my environment and my personal life.

In 1985, I moved my studio to Winston-Salem, North Carolina; married; and became a father. With all these personal changes in my life, I felt the need to develop a new body of work. I liked what I had to say philosophically, but wanted a new way to say it. I experimented with pate de verre and settled on making pate de verre sections that were laminated together. By the summer of 1986, I was using clear glass for some of my components.


Ellen Kochansky Cliff Lee