WILD GEESE: THE IRISH IN AMERICA

WILD GEESE: THE IRISH IN AMERICA

BOYD SMITH, BRISCOE,
BROLLY, COTTER,
DOUGHERTY, FLYNN,
GILHOOLY, HYNES,
KELLEHER, KERRIGAN,
LYNCH, MADDEN,
MOORE BESS, O’CONNOR,
O’MEALLIE, McDONAH
RUBALCAVA WILLIAMS,
SHEA, STANKARD, STOKES.
CURATOR’S STATEMENT Legend has it that Saint Brendan left Ireland in the sixth century in a
KEVIN O’DWYER leather-covered boat in search of the ‘promised land’. His seven-year voyage
eventually found him on the shores of North America. Christy Moore’s song,
St. Brendan’s Voyage describes his eventual arrival:
When he grew short on candles
He was forced to make a stop
He tied up at Long Island, put America on the map
Since that initial voyage, the Irish have been leaving their native shore to
seek the ‘enchanted land to the west’. The voyage to America was perhaps the
last great westward migration of the Celts. Like the many Irish who left their
native shore, my family was no different. My father along with his two broth-
ers left a small farm in Tipperary and arrived at Ellis Island in the 1920s, just
in time for the Great Depression. Their stories, and the shared recollections
of other members of the immigrant community, have always enchanted me
and form some of my strongest childhood memories. Over the years, I have
found that the collective memories of Irish-Americans form a common bond,
a link that has drawn us together to share a story, a memory, and our sense
of humour.
Wild Geese: The Irish in America is an exhibition that celebrates the creativity
of immigrant sons and daughters as well as those who have left their native
shore in recent years. The exhibition looks at the contribution that the artists
are making in the contemporary craft world. Their artistry, innovation, and
craftsmanship are exceptional. Like their ancestors, they travelled far and
have been influenced by the world around them. Some can trace a definite
connection to their past while others celebrate the difference. The common
link is their heritage, vision, and passion for their art. For many it is a home-
coming. For me, it is an opportunity to share the past and look to the future.
Welcome home!

INTRODUCTION
ELEANOR FLEGG
War battered dogs are we,
Fighters in every clime;
Fillers of trench and of grave,
Mockers bemocked by time,
War-dogs hungry and grey,
Gnawing a naked bone,
Fighters in every clime.
Every cause but our own.
The phrase ‘Wild Geese’ has its roots deep in Irish history. It refers to the
emigration of a great number of able-bodied young Irishmen from Ireland in
the seventeenth and eighteenth centuries. The exodus began in 1607 when
outlawed rebel leaders, Hugh O’Neill, the Earl of Tyrone, and Hugh Roe
O’Donnell, the Earl of Tyrconnell, fled to France with ninety-nine other
influential Irishmen of Ulster. This exodus became known as the Flight of
the Earls. The possessions of the insurgents were forfeited and the Crown
established the Plantation of Ulster, in which the ancestral homelands of
the Irish were distributed among English and Scottish Protestant settlers.
Many Irishmen, especially those who had fought in the rebellion, fled to
continental Europe, often to France. Throughout the seventeenth and eigh-
teenth centuries, the Catholic French were sympathetic to the Irish cause
and often smuggled luxury commodities to Ireland in exchange for high
quality Irish wool and Irish military recruits. The recruits were euphemisti-
cally referred to in the ships’ cargo logs as ‘wild geese’. The name stuck, and
the emigrants came to be popularly known as the Wild Geese. Once abroad,
the exiles frequently entered military service forming the Irish Brigades
which became famous in the armies of several European countries. The Flight
of the Wild Geese came to signify the exile of Celtic Ireland, the anguish of
which was expressed by the poet Emily Lawless in With the Wild Geese (1902).
Over the centuries, as wave after wave of emigration continued, the
phrase Wild Geese developed a broader meaning. It came to refer to the Irish
diaspora – some 80 million people worldwide, but especially in America –
consisting of Irish emigrants and their descendents. This larger group was
acknowledged by the Irish Government in 1998 when the Constitution of
Ireland was amended to read ‘furthermore, the Irish nation cherishes its spe-
cial affinity with people of Irish ancestry living abroad who share its cultural
identity and heritage.’ By the time that America declared independence in
1776 the Irish had already become part of the fabric of society. Several of the
56 signatories of the Declaration of Independence had Irish connections:
the parents of Thomas McKean were Ulster-Scots who came from Ireland as
children; George Read’s father had been a wealthy English resident of Dublin;
Matthew Thornton and James Smith were both Irish born and came to
America with their families as young children. George Taylor was also born
in Ireland and immigrated in his early twenties as an indentured servant,
becoming an ironworker at Warwick Furnace & Coventry Forge.
Throughout the history of America, craftsmen have travelled from Ireland
to seek a means of livelihood. The Irish-born silversmith, Philip Syng (1703-1789),
WILD GEESE: THE IRISH IN AMERICA
set up shop in Philadelphia in 1726. Syng was a friend of Benjamin Franklin
and founded a number of early Philadelphia’s cultural institutions; he was
also elected to various public offices including city assessor, warden of the
port, and treasurer of the city and county of Philadelphia. He produced silver
bowls, tankards, teapots and trays, and gold belt buckles, buttons and tea-
spoons, but his most famous work was the inkstand that he made for the
Pennsylvania Assembly, which was then used by the signers of the Declaration
of Independence and the US Constitution. The Declaration of Independence
was even printed by an Irishman – John Dunlap from Strabane – who was also
responsible for printing America’s first daily newspaper.
The Irish played their part in the American Civil War, most famously
under Brigadier General Thomas Francis Meagher as the 69th New York
Volunteers, a 3,000 strong regiment made up of Irish immigrants, who were
flooding into the United States following the Irish Famine (1845-50). The
‘Irish Brigade’ forced the retreat of the famed Lousiana Tigers, an event for
which General Robert E. Lee gave the regiment its nickname ‘The Fighting
69th’. The brigade was immortalized in the film The Fighting 69th (1940)
starring James Cagney and Pat O’Brien.
In many instances the Irish diaspora in America has been the guardian of
Irish culture. Irish traditional music, for example, was more or less exported
to America during the Famine, where it was fostered and developed by Irish
immigrants. The Taylor brothers, originally from Drogheda, arrived into NY
around 1872 and set up shop in Philadelphia. They combined their skills in
wood turning, silversmithing, reed making, and engineering to produce a set
of uileann pipes that became known as the concert pipes. The earlier parlour
pipes were suitable for intimate performances in the home, but lacked the
volume required to fill the American concert and vaudeville halls. A later
Irish immigrant Patsy Touhey (1865-1923), known as the King of the Pipers,
played on a set of pipes made by the Taylors and became one of the first Irish
musicians to record his music. In the twentieth century, when Irish music
made the return journey across the Atlantic triggering a revival of traditional
music within Ireland, Taylor sets were copied by many Irish makers
The patchwork quilt crossed the ocean with the Pilgrim Fathers in antici-
pation of cold winters ahead, and but it was the Americans who raised it to
the status of textile art. Quilts were made by the relatively prosperous women
on the East coast of America to give to family members who were going west.
They couldn’t take much with them, so the quilts were often the only pre-
cious thing that they had – a reminder of family ties. An amazing revival of

patchwork, which began in America in the 1960s, has returned full circle and
is now blossoming in Ireland.
The Wild Geese of the current exhibition have two things in common:
all work to the highest standards in the applied arts, and all have Irish roots.
Some are Irish born; some are the descendents of the earliest settlers. Some
can trace a clear link between their work and their Irish past, but for others
it’s a subtle connection that carries no obvious weight. In most cases where
an association exists between the origins of the artist and their work, it has
been married with the American tradition to produce something that tran-
scends either culture.
‘Irish Americans have a naive romantic’s relationship with Ireland,’ says
Paul Stankard, whose Irish roots go back to the early 1700s. ‘At least my family
did, now that I look back. My Irish family loved Ireland, especially my mother,
and my father was mad as hell that Ireland was exploited and couldn’t feed
her young. The family stories were about hard work to establish our selves in
America. Education, education, education... My own take on Ireland is her
literary tradition and the work of James Joyce, among others and how he lay-
ered a depth of human feelings into words. In my work I hope to reach that
level of intimacy with my interpretation of nature in glass. My work is about
sex, death, and God; I express these feeling through the life cycle of plants
translated into glass. I also love Celtic spiritualities, her superstitions, and
think of the mysteries of nature as it was celebrated in ancient times.
The glass offers me the opportunity to articulate the quite timelessness of
living things and I think of the Orb as holding the songs of Mother Ireland.’
Much of John Boyd Smith’s work reflects the plant life of Savannah,
Georgia, where he lives and works, but his lifelong passion for forging metal
came, indirectly from Ireland. It began when, rummaging through an old
storage shed on his family’s property, he found the collection of antique
blacksmithing tools left behind by his great-great-great grandfather Patrick
Hoy, a master gunsmith, who came to South Carolina from Ireland in 1804
and settled in Spartanburg. Using forging techniques that have been in use
for centuries, Boyd Smith became a blacksmith and an artist, shaping heated
raw metal with hammers to create a piece that interprets a single element of
nature as simply and accurately as a nineteenth century botanical drawing.
Few artists can claim to have picked up the tools that their ancestor
brought from Ireland; in most cases it’s a subtler interchange. Sometimes
treasured objects can prove inspirational. ‘My grandmothers were both
French, but also half Irish,’ says Sydney Lynch, jewellery designer. ‘One had
WILD GEESE: THE IRISH IN AMERICA
a wooden trunk that she would occasionally open for me, containing a treasure
trove of luxury items saved for decades: hand-embroidered silk kimonos,
beaded evening bags, brocade opera coats, silk nightgowns from China with
beautifully hand-crafted details. My grandmother’s love and appreciation for
finely-made beautiful things made an early impression on me. She belonged
for fifty years to the Art League, a ladies’ group of women who painted,
sewed, made silver jewellery, ceramics, and other handicrafts. It was she who
introduced me to the enjoyment of making things by hand.’ Lynch’s own
work, expressed in bold, simple shapes and using materials that range from
dinosaur bone to diamonds, reflects a passion for colour, for rich surfaces
and for intriguing shapes. She continues to be inspired by tribal and ancient
jewellery that illustrates the human need to arrange found objects in new
and personal patterns.
Despite her Irish ancestry, the basketry of Nancy Moore Bless has developed
through her passion for and connection with Japan. Although Irish basketry
has no bearing on the design of her work, she finds that some techniques
that she learnt from books about Irish crafts have helped her teach her craft.
‘One book was about weaving with rushes. The author showed how to tie a
basket base over a container and weave directly up the sides, cut the ties, and
slip the completed basket off the desired form. I use that technique all the
time and teach it to my students. The second book showed a craftsperson
driving stakes into the ground and then weaving the sides of the basket from
ground up, with the inverted bottom woven last. When the basket was com-
pleted, it was lifted up and turned over.’
An artist who makes wearable sculptural reliefs, Harold O’Connor is
descended from John O’Connor who immigrated to New York in the 1880s.
Despite several generations of separation between the artist and his Irish
roots, his work is influenced by the work of the gold and silversmiths of
ancient Ireland. ‘I teach several surface embellishment techniques in my
workshops, among them the ancient process of gold and silver granulation,
which the Celts and early Irish silversmiths used in the ornamentation of
their jewellery,’ says O’Connor whose use of granulation in a contemporary
context has helped to make his name in the metal arts.
Memories of Ireland can prove an ongoing presence in immigrant families,
something handed down through the generations. Such heritage, although
without obvious bearing on the development of an artist, is not without
influence. ‘My parents left Ireland in 1930 when they were both young,’
woodturner Michael J. Brolly remembers, ‘and although they grew up only

fifteen miles apart in County Derry they most likely never would have met if
they had stayed in Ireland. My grandfather, who just about everybody loved
dearly, was killed in a farming accident in 1957. People were so saddened by
this that no one could bring themselves to write to family in America to tell
them about it. It did not matter, for my mother knew by the knocking that
came in the middle of the night, as did Uncle John. Eventually visitors came
bearing the sad news and validating my mothers and Uncle John’s fears.
Anyway I was so enamoured with the old sod that my parents took me there
in 1963 when I was thirteen. It was a watershed experience for me. I grew up in
Philadelphia, and when we got to Ireland most of my relatives there still had no
electricity or running water. They cooked and heated with turf. I saw gypsies
camped in my uncle’s field with a real horse-drawn caravan. I helped to pick
potatoes and build rock walls and milk cows. I was in love, I had experienced
my legacy, I have never gotten over it, and for that I am eternally grateful.’
When Robert Briscoe visited Ireland 2003, he finally understood the per-
sistent longing for Ireland that he heard from his mother’s clan as he grew
up. ‘My mother’s great-grandfather was Hugh McLaughlin, who was born in
County Cork in 1827. He was a sailor who came to America as a member of the
U.S. Navy, probably agreeing to serve in order to acquire passage, and settled
in Kansas City where he became a political ‘godfather’, nicknamed ‘King of
the Patch.’ I’m not aware that my Irish heritage has any impact on my work,
but my entire family did have an openness to art that was unusual in Kansas
City. My ancestors were sailors and fishermen when they were in Ireland. I
live in Minnesota, about as far as you can get from the ocean. We have lots of
big sky and woods. I truly enjoy the generosity of space and I know that the
geography of my home does have an impact on my work.’
Similarly, although Pat Flynn’s jewellery has an unselfconscious air of
the Celtic about it, he sees no direct Irish influence in his work. ‘I’m interested
in the underlying tension that results from combining disparate materials
such as steel and diamonds or gold and steel, in organic forms. My hope is
that my work will go out into the world and communicate for me,’ says Flynn,
whose great grandfather came to America from Cork, Ireland. He settled in
north western Pennsylvania in a sod house, and worked as a farm hand. ‘His
son – my grandfather – also worked for a farmer saving carefully he was able
to eventually purchase a farm from the Lawrence’s in 1904 for $1,800. This is
the farm I grew up on. My father, Clare, bought the farm from his father. To
make ends meet my dad worked on the railroad stoking steam engines with
coal while he ran the dairy farm.
WILD GEESE: THE IRISH IN AMERICA
On the other side of the Atlantic, the hands-on aspect of life in rural
Ireland was to prove both a practical training and an inspiration for Caroline
Madden, who builds sculptural objects for installations in cast glass, metal,
and wood. Madden traces her love of building back to her memories of child-
hood trips to her grandparents’ home in Annabradigan, County Leitrim. ‘My
memories begin with summer holidays at grannies’ house, rebuilding stone
walls after the cows had knocked them down due to an overzealous itching
session; mixing mortar and handing cement blocks off to my father; and
harvesting hay and turf. It is these activities that seem to still infuse my
aesthetic: both the building process and fellowship through working together
with others that are important to me and give meaning to the work.’
It is easier to trace the Irish influences of the more recent Wild Geese. The
textile artist Rebecca Williams was brought up in the Dublin Mountains. ‘It’s
an area covered in a patchwork quilt of fields, bordered by trees and rocks,’
says Williams. ‘It’s a spectacular view, and one that still heavily influences
my work. My other major influence was my mother, Magda Rubalacava.
When I was a child, she was always crocheting, which meant that there was
a lot of scrap yarn hanging around. My parents gave me a small loom for my
birthday, and I would use up all the scrape wool to make belts, ribbons, and
very narrow tapestries. With my mother’s encouragement, I started to weave
my tapestries on larger frames, old window frames to be precise. Then she
started to weave tapestries herself, and so we propelled each other along.’
Even more recently, glass artist Paula Stokes moved to the States in 1993,
although she describes her cultural legacy in terms of outlook rather than
landscape. Stokes feels that she is influenced by the Irish attitude to death
and the passage of time. ‘Culturally, the Irish embrace death with resigna-
tion, accepting it as part of life. I have become more aware of the fragility of
life and my physical being. In my work I want to create compositions that are
organic, delicate, and sensual, evoking a sense of an alternate landscape; one
that is both strong and fragile; an altered perspective.’
By nature, cultural exchange is a two way process, and the Irish legacy
has to be seen in the context of American opportunity. Anne Hynes, who grew
up in Dublin and graduated from NCAD in 1994, spent time working with
glass artists in Sweden, France, and Australia before moving to New York in
2001, where she has been living since. ‘It’s very hard to say how living in
Ireland, Australia, or the States has influenced my work. I imagine that the
main thing about living in the US has been the access to wonderful facilities,
supplies, opportunities, and people. I have been inspired by witnessing many
of my peers making a living from their craft and artwork.’
 Sometimes the family name, and the stories that go with it, are all that ARTISTS
remains of Irish origins. Sean O’Meallie’s brilliantly constructed wooden
sculptures combine a sense of barely suppressed laughter with a technical
proficiency probably owes more to his previous incarnation as a toy designer
than to his Irish roots. He remembers that his father, who ‘was raised
Protestant, rejected the church and all authorities, and wore an orange patch
on his sleeve every Saint Patrick’s Day’ travelled to Ireland to trace the unusual
family name, assumed to be a version of the widespread O’Malley. Although
he died without writing down his discoveries, it seems that the Mealy’s were
sea- farers and were not part of the O’Malley clan. ‘Since visiting old Eire, I’ve
wondered if in the old Irish language two brothers might spell their names
differently simply to denote which side of the road they lived on. Perhaps it’s
an Irish flight of fancy that allows me to envision this. I do enjoy language,
humour, beer, and wild imaginings, and I gladly toast my Irish heritage for
this obvious genetic advantage.’
‘My work really has nothing to do with where my ancestors came from.
After all it has been a hundred and fifty years, and nobody really mentioned
it much,’ says David Gilhooly who, although best known for The Funk
Ceramic Movement, has given up clay completely to work on what he calls
the shadow boxes, which evolved from his work in Plexiglas. ‘The Gilhooly’s
were coal miners in Country Antrim and came over during the famine to run
bars in Ohio until my grandfather got fed up with his family and disappeared
to Los Angeles. My grandmother’s side were Fagens, Jews whose family tradi-
tion had them coming to Ireland with the Romans, although I’m pretty sure
they were actually gypsies. They came to the States about the same time and
were notable for running a combination dairy and bar in Aurora, Colorado
and for being musicians. My grandmother met my grandfather in LA.’
Although Gilhooly’s work has purely North American roots, his name
has been a constant Irish presence in his life. ‘It has been a way for people to
approach me. The favourite way is to ask ‘Is your name Irish?’ always with a
smile because they already know the answer. Much better than something
like ‘Damn! You do have about the world’s biggest nose!’
ROBERT BRISCOE
MICHAEL J. BROLLY
JAMES E. COTTER
PATRICK T. DOUGHERTY
PAT FLYNN
DAVID GILHOOLY
ANNE HYNES
MATT KELLEHER
THOMAS KERRIGAN
SYDNEY LYNCH
CAROLINE MADDEN
NANCY MOORE BESS
HAROLD O’CONNOR
SEAN O’MEALLIE
TEDD R McDONAH
ANDREW SHEA
JOHN BOYD SMITH
PAUL JOSEPH STANKARD
PAULA STOKES
REBECCA RUBALCAVA WILLIAMS

The exhibition opened in the

National Craft Gallery Kilkenny, Ireland
on 30th March 2007
WILD GEESE: THE IRISH IN AMERICA
ROBERT BRISCOE
Ceramics
Looking back, I realise that choosing to be a potter
in the late 1960s was less about being an artist or
seeking self-expression than about dealing with the
social and political turmoil of that period. I saw
being a potter as my best chance to live an authentic
life, to be a fully integrated person – physically, men-
tally, and creatively.
At some point, I realized that there was more to
being a potter than continuing the cycle of making
and selling objects to people, that there is a power
conveyed through a beautiful, useful object.
Below: Noodle Bowl
Stoneware clay, wood ash glazed over crackle slip
10cm h x 14cm w x 14cm d
Recognising the tangible connection between user
and maker, I fell in love with pot-making again.
My purpose in making pottery expanded beyond
meeting my own needs, and began to include con-
tributing to the savouring of life by others. I began to
focus more on my pots as part of the simple, joyful
rituals of life – the sharing of food and display of
flowers. This focus made me work for an increasing
subtlety and nuance that would be revealed over
time and use. Today, I work to make simple, sensual
pots, with quiet but robust surfaces, made in a scale
meant to convey generosity.
Right: Fluted Vase
Stoneware clay, woodash glazed over crackle slip
12.7cm h x 22.8cm w x 12.7cm d
WILD GEESE: THE IRISH IN AMERICA
MICHAEL J. BROLLY
Wood
The story has oft been told how I came home from
my first day at kindergarten and announced that I was
going to be an artist when I grew up. To my, and every-
one else’s, amazement I seem to have done just that.
Thinking of My Mother-In-Law Marianne and Those
Magnificent Mahogany Breasts was actually the impe-
tus for me to take my mother to Africa to visit her
sister, who was a missionary nun in Zambia at the
time. While we were there, a priest we met asked me
where this talent of mine came from. I answered: ‘You
mean besides the obvious, that it was God given? That
and the fact that my parents were originally farmers
and could fix or make just about anything.’
The answer seemed to appease him, but the ques-
tion lingered in my mind and got me thinking – just
where did this talent come from? Now I realise that
all cultures have artists but, for such a small island,
Ireland sure has seemed to produce its fair share of
talent, which is why I’m so honoured to be included in
this show. Art, for me anyway, is a celebration of man’s
higher aspirations. To be asked to participate in a sort
of homecoming from the Diaspora is, in a word, hum-
bling. My parents always encouraged and supported
me in my struggles to stick with this art thing and this
show, in a very wonderful way, helps me to say:
‘Thanks for a wonderful life’.
Right: Thinking of My Mother-In-Law Marianne and Those
Magnificent Mahogany Breasts
Mahogany, Maple, Walnut, Ebony, Cherry, Brass, steel, Ball and
Roller Bearings, Magnets, Suede
150cm x 71cm x 51cm
WILD GEESE: THE IRISH IN AMERICA

JAMES E. COTTER
Jewellery

My work consists of creating images from a
variety of materials not normally associated with
jewellery such as steel, concrete, rocks and everyday
objects.
It was in 1964 that I first incorporated rocks into
my jewellery. I have always found them to be a chal-
lenging material to work with; one cannot erase
mistakes left by the mark of the maker. In a number
of the pieces I set the rocks as a traditional jeweller
would set a gemstone. In other pieces the entire
rock is used, carved into a ring with diamonds
embedded into its surface. In these rings a thin
band of gold lines the interior. While most jewellers
set stones in metal, I set metal in stones. Cement is
another material that intrigues me; the notion of
taking a material used to build massive and power-
ful architectural structures and breaking it down
into a delicate sensuous piece of jewellery.
I’ve often been torn between loyalties to art and
craft but have come to the conclusion that the
distinction really does not matter and is no longer
necessary. Just as one does not buy a painting
because of the number of tubes of paint brushed
on the canvas, jewellery is not merely the sum of its
intrinsic materials. I enjoy the idea of combining
disparate materials to assert that jewellery doesn’t
have to be precious metal or gemstones, and can
survive outside the common perceptions of what
properly constitutes jewellery.

Right: Miraculous Metal Pendant

concrete, antique Red Cross pin, healing dirt, glass, steel,
sterling silver
65mm x 10mm

Left: Concrete and Pearl Ring

concrete, pearl, 14K gold
30mm x 15mm x 38mm
WILD GEESE: THE IRISH IN AMERICA
PATRICK T. DOUGHERTY
Sculpture
I construct large temporary structures, built on
site from tree saplings gathered in the nearby land-
scape. Snagged together without the use of tools or
any supportive hardware, these sculptures respond
directly to their surroundings and interact with
a particular space to build drama and visual
excitement.
My sculptures are about gesture, motion, and
the movement of line and force through space. The
actual construction process is not a sedate studio
activity; instead, it is one that uses large motion and
the entire body. The physicality of the process is
evident in the final sculptures.
I believe that an artist’s childhood shapes their
choice of materials. For me, it was exploring the
underbrush of my hometown in North Carolina, a
place where tree limbs intersect and where one can
imagine all kinds of shapes and speeding lines in the
mass of winter twigs. When I turned to sculpture in
the early 1980s, it seemed easy to call up the forces
of nature and incorporate the sensations of scoring,
sheering, and twisting into the surfaces of my sculp-
tures. The saplings, so plentiful along my driveway,
became the raw material with which to sketch out
a series of large gestural forms. Using the shafts of
a branch one way and the finer top ends in another,
I developed a body of work that I have come to think
of as Shelters of Transition.
Right: Spinoffs
Saplings were maple
21.5 meters high
DeCordova Museum and Sculpture Park in Lincoln,
Massachusetts in 1990
Photography: George Vasquez
WILD GEESE: THE IRISH IN AMERICA

PAT FLYNN
Jewellery

I want my jewellery to be worn everyday through
life, to develop the patina of the wearer. I want for
the jewellery to go out and work, to be on its own,
to communicate for me.
What attracts me to my work is the dichotomy
between materials and processes. The wildness of
forging, juxtaposed with elegant goldsmithing tech-
niques. I am interested in the tension that results from
combining disparate materials – such as steel and dia-
monds, or gold and steel – into organic jewellery forms.
The beginning stages of creating my work are akin
to blacksmithing. With powerful hammer blows, I
work the hot steel on the anvil. Later processes are
smaller scale; controlled, precise jewellery techniques
involving stone setting and gold work. The final step
is to oxidize the work black, which creates a dynamic
contrast between the steel, gold, and diamonds.

From left to right: Tapered Diamond Cuff

Forged Steel, platinum, 18k gold nameplate, 1/3 carat diamonds
2.54cm x 5cm x 5cm
Gold Dust Cuff
Forged steel, 22k gold, 18k gold nameplate
2.54cm x 5cm x 5cm

Monolith Brooch
Forged and fabricated steel, 22k gold, 18k gold, platinum, diamonds
7.62cm x 2.54cm x 2.54cm
WILD GEESE: THE IRISH IN AMERICA

DAVID GILHOOLY
Ceramics

I used to make frog things. That’s something

that started and ended a long time ago, but their
popularity still follows me around.
The past is a skeleton. So is the future. One walks
ahead and the other walks behind. Once in a while,
on an occasion such as this show, I sit down in a bar
with the skeleton of the past, have a drink, and
throw together whatever is of interest at the
moment…
That is, I make some things from the past that I
can stand stealing from my past self! Though, once
in a while, I even make something new...
Frogscones!

Left: Big Mac

Clay
20cm x 15cm x 15cm

Right: Frogscones
Clay
9cm x 9cm x 9cm
WILD GEESE: THE IRISH IN AMERICA
ANNE HYNES
Glass
My background as an artist includes not only
glass art, but also print and graphic design. These
two disciplines are the strongest influences on my
approach to glass.
In both print and graphic design, the line is a fun-
damental unit. Lines are etched or drawn, and form
the visual basis for shape and area. The notion of
simple lines is not common in glass art, partly
because glass is worked with in liquid form, and
partly because of the sculpture-like nature of glass
art. To shape and mould glass requires high temper-
atures. Many of my pieces have to be worked with
directly by hand at temperatures of 1500 degrees
Fahrenheit. Delicate lines are not often found in
such conditions.
Line drawings typically exist ‘on’ something. They
are drawn on paper, etched on copper, or mapped on
a computer screen. My work tries to elevate the line
off the paper and into space, creating free-standing
lines. Because the glass is transparent, the light pass-
ing through the glass serves to redraw the lines as
shadows on the wall behind them. The glass and the
bubbles within the glass complement the line, mak-
ing it something more than a simple line drawing.
This limited edition series is a set of copper line
drawings encased in glass. The images are inspired
by, and taken from, a series of figure drawings. I have
chosen figures for this series because of the simplici-
ty and elegance of the shape of the human body.
From left to right: Life Drawings in Glass
Clear glass and copper wire
14cm x 20cm panels
WILD GEESE: THE IRISH IN AMERICA
MATT KELLEHER
Ceramics
Utilitarian objects are accessible and universal;
their forms are recognisable and their utility makes
them inclusive. I develop my forms by considering
the requirements of utility, and then challenge
these assumptions by altering the design. Often
compositional elements – volume, line, centre of
gravity, edges, spouts, handles, feet, or lids – may
all be altered in subtle degrees. I search for a poised
form that captures the essence of utility.
Surface is created for contemplation; moods are
suggested with warmth, fluidity, and translucency.
Atmospheres are veiled with fog and cool mist. The
vessels are covered with slip. Pouring and layering,
I respond intuitively to the qualities of liquid, and
glaze is applied over the slip to achieve two different
results. On some forms, I choose to pour glaze to
mimic the gesture of the slip, on others I arrange
glaze with controlled marks to punctuate the compo-
sition. Most of my work is fired in a soda kiln; a small
number of pieces in a wood kiln. The firing atmos-
phere dampens the surface, the slip warms up, and
layering is revealed. Then the relationship between
the form, the firing, and my hand is complete.
My work is built on consideration. I combine a
subtle balance of geometry in form, a comparison
of symmetry and asymmetry in decoration, and a
serene surface. Softly, the work asks for the viewers’
attention. Each piece is ready for a conversation and
willing to be part of a greater surrounding.
Right: Slab Vase
Soda-fired Stoneware
42cm h x 23cm w x 21.6cm d
WILD GEESE: THE IRISH IN AMERICA

THOMAS KERRIGAN
Ceramics

I think of art as physical manifestation of vibra-

tions of the soul.
My current body of work is a reflection on the
essence of desert with a major focus on the indige-
nous flora of the desert, which often is very sensual
and erotic. This is a springboard for addressing larg-
er issues of internality and mystery. For the past
fifteen years I have lived in Arizona, and before then
I made frequent trips to the desert, which is a source
of spiritual sustenance for me. I find that its grand
simplicity speaks to a primordial cord within me.
The works in this Desert series are all constructed
using the pinch method. I take small dabs of clay
and slowly built up each form to completion. I use
two types of clays; one is a terracotta and the other
an off-white sculptural body. Often I will leave the
terracotta pieces unglazed, as the richness of the
fired colour is very beautiful.
Some of the sculptural forms are quiet and medi-
tative in countenance while others are bold and
direct. I am intrigued by spaces which are non-acces-
sible to the human eye but which are accessible to
the human spirit. I feel like the textural forms
entice the human spirit to penetrate the interior
and bathe in an unknown, yet vaguely familiar,
environment. The juxtaposition of forms creates
a dialogue which slowly moves toward meditation.

Left: Desert Flora XXIV

Unglazed Terra Cotta
142cm h x 61cm w x 11.5cm d

Right: Desert Sunset IV

Earthenware with glazes and stain
25.4cm h x 44.5 diameter
WILD GEESE: THE IRISH IN AMERICA

SYDNEY LYNCH
Jewellery

My jewellery combines bold, simple shapes,

reflecting an organic geometry, using texture and
surface patterns for tactile and visual interest. For
me, working with the materials is the most exciting
part of the process. Simply put, I like making things.
Give me some metal and a pot of good coffee, and
I’m ready to go.
My design vocabulary derives from a range of
sources which reflect my own interests: the natural
forms of rocks and seashells that I’ve collected since
childhood; the lines and contours of landscapes
where I’ve lived and travelled; the rich surfaces and
intriguing shapes that I find in weathered areas of
the city. As a transplant to the Great Plains, I have
been inspired by the subtle, repetitive forms found
in the flora and wild grasses of the prairie. In minia-
turising the vast, open landscape by creating these
pieces of jewellery, I am able to focus on details of my
surroundings which might otherwise be overlooked.
My jewellery designs tend to be abstract, leaving
the wearer open to create a personal, intuitive
relationship with the piece. Wearability is always
a critical consideration: my jewellery need to be
comfortable and graceful as well as sculptural,
strong, and well crafted.

Left: Hibiscus pendant

oxidized sterling, 18k gold, tourmaline beads
7.62cm long

Right: Prairie Grass necklace

oxidized sterling, 18k gold, chrysoberyls
6.35cm long
WILD GEESE: THE IRISH IN AMERICA
CAROLINE MADDEN
Glass
The love of building relates to my earliest child-
hood memories, beginning with summer holidays at
granny’s: rebuilding stone walls after the cows had
knocked them down due to an overzealous itching
session; mixing mortar, and handing cement blocks
off to my father to build our home in Leitrim; and
harvesting crops. It is these activities that seem to
still infuse my aesthetic sensitivities. Both the build-
ing process, and the fellowship generated through
working with others, are important to me and give
meaning to the work.
Image: Reflections of Lough Boora II
Blown, solid and cold- worked glass form
40cm long x 15cm diameter approximately plus slate
This body of work is a direct response to my recent
visit of Lough Boora Parklands in Ireland. The
Parklands are a regenerative project of Bord na Mona,
as a gift to the community that is both pioneering
and philanthropic. The work attempts to convey the
essence of my experiences of this special place:
Reflective, tranquil, waterways
Culture, heritage, mythology
Wildlife, swans, regal,
Walkways, toghers, travel
Flora, seeds, regeneration
WILD GEESE: THE IRISH IN AMERICA
NANCY MOORE BESS
Baskets
What is it about jars that make them so appealing?
Much of my work over the last twenty years has been
about the potential of mystery and containment in
basketry. I use lids and closures to imply that,
though there is something inside my vessels, we
aren’t allowed access to that space and those myste-
rious contents. While my woven forms reflect my
continued interest in Japan, the inclusion of secrecy
in my work comes, not from Japan, but from Africa.
Japan, Africa, and India provide overlays to the
influences of a Californian childhood. The pantry
there was filled with the colour of canned peaches,
the amber jars of fresh honey, and the glistening red
of pomegranate jelly. An old green tea tin of my
Granma Maggie sits in my kitchen. One of my
mother’s button jars is now mine, as are her Pomo
baskets. In my studio, there are new jars of pebbles
collected from Kyoto garden paths and California
beaches, as well as crocks of spooled silk thread.
The jars I have woven reflect where I am now in
my life. These are forms whose texture invites the
observer to touch. These are jars to draw you inside
and make you wonder what secrets I have placed
there. These are pieces designed to make you dream
of other places and, perhaps, other times.
Left: Kanji Jar
Waxed cotton and linen, wooden lid, Japanese book page
12.7cm x 12.7cm x 12.7cm
Right: New Delhi Jars
Waxed cotton and linen; Indian lids, beads, and wooden box
Tallest basket: 23cm x 10cm x 10cm
Photography: D.James Dee
WILD GEESE: THE IRISH IN AMERICA
HAROLD O’CONNOR
Jewellery
I have been a metalsmith for over forty years now.
I have taken many design directions and used many
techniques, among them the ancient process of gold
and silver granulation.
Granulation is a surface embellishment method
in which scores of minute metal beads are fused to a
metal surface to produce an ornate surface pattern. It
is a method of decoration that has been used for over
5,000 years by craftsmen around the world. Simply
stated, small filings or chips of metal are heated on
charcoal to make them round; the small beads are
then coated with a mixture of metal oxide and natu-
ral glue, and each bead is placed individually in
place. The mass of beads are then fired under heat to
form a permanent bond with the parent metal. It is
this process, used in a contemporary way, which
has made a name for me in the metal arts world.
My designs are inspired from my environment,
travel to exotic countries, and observing various
aspects of society. I started travelling when I was
thirteen years old, and have done so all my life. I
enjoy integrating classical techniques into contem-
porary forms, and use both pictorial and abstract
form in my creations. I am interested in the essence
of a material – not its intrinsic value.
Doing what you love for a living is a great gift. I
travel, I look at things, I attend workshops myself.
There’s always something new to try, that’s the
beauty of it.
Left: Brooch
l8kt silver and Spectrolite
5cm x 6.5cm
Right: Brooch
l8kt silver and Spectrolite
4cm x 6cm
WILD GEESE: THE IRISH IN AMERICA

SEAN O’MEALLIE
Wood

What can be said in an artist’s statement? I make Left: A Vase of Colorful Sticks
objects. They disappear. I make more objects. It’s like Hardwood, acrylic, wax, found glass
84cm x 53cm x 53cm
potatoes…
I know that when I make something it forms at the Right: 25 Varieties of Potato Organized into a Grid
tip of everything that I know or think that I know, hardwood, acrylic, wax.
61cm x 61cm x 12.7cm
along with some other things. This usually happens
in front of me, by way of a lot of pushing and pulling.
And when finished and set out there, the object does
something. It alters space and maybe occurrence.
I don’t know why I do it entirely, but I have my
suspicions it’s about altering a landscape and influ-
encing future events in a primordial and fresh kind
of way. I only hope that good comes from it.
Making art is like flower arranging. I try to arrange
all the flowers well and freshly, as I know that I work
in an entertainment business. And, as I learned a
good deal about the semiotics of spatial displacement
when I was employed as a toy inventor, I often try on
this old mantra today: ‘Draw the eye; delight the
heart; tickle the intellect’, but not always.
WILD GEESE: THE IRISH IN AMERICA

TEDD R McDONAH
Metalwork

There is an ambiguity in my work, or, at the very

least, indecision. In some respects I perceive jew-
ellery and fishing lures to be quite similar. First,
there is the attention-seeking factor. And then,
although not so obvious, the properties of shiny
(or not shiny) metal objects as social-status symbols.
‘The lure’ certainly makes references to jewellery
and fishing simultaneously, however, neither word
is an appropriate title. I think I’ll call it ‘Fewelry’ or
maybe just ‘Lurewelry’…
Having been recently reacquainted with black-
smithing, I’ve also discovered that ‘traditional’ is a
relative term. Most of my work shares a basic set of
technical processes – forging, forming, cutting,
welding, grinding, and swearing (expletives are the
most traditional but the least technical). Chiefly, I
rely on the most basic of blacksmithing skills and
integrate them with my pleasure in working intu-
itively, along with incorporating, at times, available
found objects that I think will lend themselves to
the continuity of a piece. Found objects can provide
great visual interest, sometimes as ‘fillers’ and Above: Cockamamie Candleholder III
sometimes as integral elements of a composition. Forged and fabricated mild steel
89cm x 36cm x 30cm
The bottom line is, when finished, a new object of
artistic merit should exist, which exhibits my skills Right: Moke - A - Bou Muskie Lure
as a thinker and an artist in metal. Sterling silver and copper mokume-gane, sterling silver,
nickel silver, pearls, marabou, stainless steel
20cm x 10cm x 10cm
WILD GEESE: THE IRISH IN AMERICA

ANDREW SHEA
Glass

There is a long history of forging containers among

artisans. This tradition arose from the need for func-
tional artefacts, as well as an inherent desire to collect
and store that which is precious – be it ordinary water
or exotic perfume.
I have always thought that the perfume bottle was
underrated as a format for artistic expression. It has
so much to offer – form, colour, surface, depth, interi-
or, exterior. The stopper allows an interplay that isn’t
available anywhere else, and the facets are integral to
the piece, they define the form and are the entrance
to the interior
Before I became an artist I studied the sciences –
chemistry, biology, ichthyology – where I learned to
look beyond the surface. I transferred this interest to
the study of fine arts and glass blowing in the early
1970s. I am inspired by molecular and architectural
structures. I love their geometric shapes and the
crystalline forms, and transforming these shapes
into beautiful and functional perfume bottles.

Left: Perfume Bottle

Ruby and amber blown glass with silver, facetted
41cm h x 9cm x 20cm

Right: Vase
Amber double dot, gold topaz, facetted
41cm h x 25cm x 25cm
WILD GEESE: THE IRISH IN AMERICA

JOHN BOYD SMITH

Metalwork

As a young child, I watched my mother nurture

plants, flowers, and animals. Her keen interest in
nature must have had a profound influence on my
young mind, since I now forge, shape, and sculpt
solid metal into forms that emulate the natural
world. I have fashioned flowers, plants, trees,
animals, and insects from hot-forged metals for
more than twenty-five years.
My Irish ancestor, Patrick Hoy, was a superb gun-
smith who came to America in 1804. He forge-welded
hot iron into weapons. I am completely self-taught,
but firmly believe that my ability comes from my
heritage. In this way, I am spiritually forge-welded to
Ireland. I characterise my style of artistry as ‘realism
in metal’ and try to depict realism through
capturing key details, so that the visual impact is
unmistakable. For the Wild Geese exhibition, the
theme of realism is hopefully self-evident. I have
dreamed of coming to Ireland since I was a child,
and now, because of Patrick Hoy, I am coming home.

Right: Marshlands of Savannah

Forged mild steel, faux-bronze patina, glass
84cm x 183cm x 109cm h
WILD GEESE: THE IRISH IN AMERICA
PAUL JOSEPH STANKARD
Glass
The opportunity to share my art with the people
of Ireland honours the memory of my Irish ances-
tors. Americans of Irish descent have a unique
relationship with their Mother country. It may be
hard to translate to non-Americans, or maybe not.
My work has been informed by James Joyce
among others and how he layered a depth of
human feeling into words. In my work I hope to
reach that level of intimacy with my interpretation
of nature in glass. My work is about sex, death, and
God and I express these feeling through the life
cycle of plants translated into glass.
My hands have been manipulating glass for over
four decades, and in the beginning, it was about
mastering a craft. Slowly, I found ways to express
a special interest in the plant kingdom, and as the
designs evolved, I found myth under the leaves and
among the roots.
For me personally, as I near the end of my career,
the art work is more personal than at any other
time. I think of my self as a monk in my studio cele-
brating God’s mysteries, and have come to love the
Trinity as mysticism.
Right: Floating Bouquet Orb
Glass
20cm diameter
WILD GEESE: THE IRISH IN AMERICA

PAULA STOKES
Glass

I am interested in the passage of time and its

effect on us as humans. Culturally, we Irish embrace
death with a healthy approach, especially through
our rituals and community support. There is a resig-
nation and a quiet acceptance of its part in life.
This work is inspired by my interest in the organs
of the human body; specifically lungs and the stom-
ach. These objects represent different emotions and
their physical manifestation in the body. I choose to
use blown glass because of its physical properties.
Glass is a membrane that is elastic and organic. It is
very fragile but also incredibly strong. I use it as a
metaphor for life. In creating this work I want to
celebrate the fragility and humanity of life.

From left to right:

Lungful # 2
blown glass
48cm h x 20cm w

Laden
blown glass
25cm h x 41cm w

Gutsy
blown glas
46cm h x 25cm w
WILD GEESE: THE IRISH IN AMERICA
REBECCA RUBALCAVA WILLIAMS
Fibre
When I was a child living in Ireland, I used to
climb a mountain and dream about the world. Now
that I live in the United States, my dreams often
turn towards home and that mountain top. Today,
my tapestries are based on the textures and shapes
that are created in the rural landscapes of Ireland
and the mountains of Southern California. My work
is a marriage of the two countries. It has the reli-
gious imagery of Ireland and the dreams that my
husband, children, and I now have when we walk
in the mountains of Southern California.
I work in an abstract style. Each piece evolves into
an organic shape of its own. Within each shape
there are rhythms of pattern, texture, and colour
that are symbolic of the detail that is in the land-
scape. All of this can be seen in the paths that
crisscross the mountains in both countries. The use
of different materials like thread, wire, cotton, and
wool are very important as they not only help to
create different textures but also help to blend the
colour in my work. This allows me to blend the dark
with the light, to blur the edges of each area, and
therefore to heighten my meditative state of mind
when I am weaving. The irregular shape of each
piece draws the viewer in. The detail and colour
within the tapestry keep their attention.
Left: Graveyard
Cotton, wool & wire
62cm x 46cm w
 WILD GEESE: THE IRISH IN AMERICA

ARTIST’S CVS ROBERT BRISCOE MICHAEL J. BROLLY

2785 Stark Road 92 Woodlawn Street
Harris, MN 55032 508 994 5776
rbstonwr@cpinternet.com New Bedford, MA 02744
651 674 4656 brollywood@aol.com
www.michaeljbrolly.com
Born in Kansas City, Kansas in 1947
EDUCATION
EDUCATION 2007 Master of Fine Arts, University of Massachusetts Dartmouth,
Kansas State University. Artisanry Dept.
1981 BFA with Honors from Kutztown University, Kutztown, PA
SELECTED EXHIBITIONS
Warren McKenzie and the Midwest Five, Gallery Gen, New York City, NY SELECTED EXHIBITIONS
Functional Connections, Lacoste Gallery. Concord, MA Have shown extensively in both the United States and Europe
American Pottery Festival, Northern Clay, Minneapolis, MN including:
New York Tea Party, Dai Ichi Gallery, New York City, NY Yale University,
Centering-Clay in the Midwest, Free Hand Gallery, Los Angeles, CA Minneapolis Institute of Art
Functional Ceramics Invitational, Alfred University, Alfred, NY The Renwick
A Glimpse of the Invisible, NCECA 2000 Denver, CO Museum of Art and Design
American Pottery Invitational, Meiko Seito Gallery, Tokyo, Japan Museum of Applied Arts and Sciences, Frankfort, Germany
Robert Briscoe, St. Benedict’s College, St. Joseph, MN Mid Career Retrospective Travelled to Eight Sites in US
Fifty Years of American Craft, Minnesota Museum of American Art,
St.Paul, MN SELECTED AWARDS
Confluence: The Mackenzie Influence, Continental Clay, Minneapolis, MN Outstanding Alumnus for Kutztown University
Robert Briscoe/Matthew Metz, Lillstreet Gallery, Chicago, IL First Place in Sculpture at the Pennsylvania State Museum
Clay National, Penn State University, State College, PA Best of Show at the Wharton Eshrick Museum several times
Domesticware, Nancy Margolis Gallery, New York, NY
SELECTED COMMISSIONS
SELECTED ARTS FESTIVALS Pennsylvania Governor’s Awards 2002
Cherry Creek Arts Festival, Denver, Colorado Art and Economics Award’s Philadelphia Business Council 2000
Smithsonian Craft Fair, Washington D C Governor’s Gift to President of Sony Japan during Asian Economic
Philadelphia Craft Fair, Philadelphia, Pennsylvania Summit 1999
Coconut Grove Arts Festival, Coconut Grove, Florida
American Craft Expo, Evanston, Illinois
SELECTED BIBLOGRAPHY
Kansas City Plaza Arts Festival, Kansas City, Missouri
Wood Art Today
Annual Pottery Invitational, Demarest, NJ
Woodturning in North America Since 1930
Fine Woodworking Design Books 6 and 7
GALLERIES Full Color Catalogue from Mid-Career Retrospective
Freehand Gallery, Los Angeles, California Numerous magazine and Newspaper Articles
The Grand Hand, St Paul, Minnesota
LaCoste Gallery, Concord, Massachusetts
COLLECTIONS
Lemieux Gallery, New Orleans, Lousiana
Museum of Art and Design, NY
Lill Street Gallery, Chicago, Illinois
Detroit Institute of Art
Red Star Studio Gallery, Kansas City, Missouri
Kutztown University
Los Angeles County Museum of Art
COLLECTIONS
Weisman Museum of Art, Minneapolis, MN
Racine Museum of Art, WI
The Margaret Harlow collection, Bemidji State University
Minnesota State Historical Society
The Bindley Collection, WI
 WILD GEESE: THE IRISH IN AMERICA

JAMES E. COTTER PATRICK T. DOUGHERTY PAT FLYNN DAVID GILHOOLY

P.O. Box 385 Vail, CO 81645 970.827.4222 9007 Dodsons Crossroads 480 Mohonk Road 4385 Yaquina Bay Road
jcotterstudio@comcast.net Chapel Hill, NC 27516 High Falls, New York 12440 Newport, OR 97365
(919) 967-6533 Phone 845.687.2266 dgilhooly@earthlink.net
EDUCATION stickwork@earthlink.net Fax 845.687.2061
1969 Masters Degree of Arts, University of Wyoming, Laramie, www.stickwork.net Born in 1943, Auburn CA
Wyoming EDUCATION
1967 Bachelors Degree of Fine Arts in Education, Wayne State College, Born in 1945, Oklahoma 1979 SUNY New Paltz, New Paltz, NY, BFA Goldsmithing EDUCATION
Wayne, Nebraska 1976 Edinboro State College, Edinboro, PA Jewelry & Metalsmithing
EDUCATION 1965 BA University of California, Davis
1969: M.A., University of Iowa. 1966 MA University of California, Davis
SELECTED EXHIBITIONS SELECTED EXHIBITIONS
1967: B. A., University of North Carolina, Chapel Hill
2006 Glass-Wear, Craft Alliance, St. Louis, Missouri 2006 Process & Promise: 75th Anniversary 92nd Street Y, New York, NY SELECTED SOLO EXHIBITIONS
2003 The Bracelet, Yaw Gallery, Birmingham, Michigan, SOFA NYC Pat Flynn Patina Gallery, Santa Fe, NM
2003 The Art of Gold, Society of North American Goldsmiths, SITE SPECIFIC EXHIBITIONS Inventing Contemporary Ornament National Invitational
2006 The Many Hearts of David Gilhooly, Micaela Gallery, San Francisco, CA
2006 Cornell University, Ithaca, NY 2005 An Affair of the Heart: Works on Paper by David Gilhooly, Pence Gallery,
national traveling exhibtion Bowling Green State University, Ohio Davis, CA
2002 Mikromegas, Munich Decorative Arts Association, 2006 Scottish Basketmakers Circle, Dingwall, Scotland 2001 Falling Gracefully Susan Cummins Gallery, Mill Valley, CA
2005 Santa Barbara Botanic Garden, Santa Barbara, CA Best in Show: Dog Works by David Gilhooly, Museum of Glass,
international traveling exhibition The Poetry of Passion, DeNovo Gallery, Palo Alto, CA Tacoma, WA
2002 A Modern Bestiary, Wustum Museum of Fine Art, Racine, WI 2005 North Carolina Museum of Art, Raleigh, NC Flux Susan Cummins Gallery, Mill Valley, CA
2004 Grounds for Sculpture, Hamilton, NJ Food, Frogs and Fido: Works on Paper by David Gilhooly, Cantor Art
2002 Going to the Dogs, Wustum Museum of Fine Art, Racine, Irony Jewelers werk, Washington, DC Center, Stanford University, Stanford, CA
Wisconsin 2004 Osnabruck Museum and Art Association, Osnabruck, Germany Food Glorious Food Charles A. Wustum Museum of Art, Racine, WI
2003 Villa Montalvo, Saratoga, CA 2002 Eastern Washington State College, Cheney, WA
1999 Measure by Measure, Brookfeild Craft Center, Brookfield, Work Songs Susan Cummins Gallery, Mill Valley, CA 2001 Nickle Arts Museum, University of Calgary, Calgary,
Connecticut 2003 The Contemporary Art Museum, Honolulu, HI Contrast & Contradictions Susan Cummins Gallery, Mill Valley, CA
2002 Boise Art Museum, Bosise, ID Alberta, Canada
1998 The Box Show, Denver Art Museum, Alliance for Contemporary 2000 Hallie Ford Museum, Willamette University, Salem, OR
Art and Ron Judish FineArts, Denver, Colorado 2002 Museum of Glass, Tacoma, WA
2001 Djerassi Foundation, Woodside, CA AWARDS 1999 DeSaisset Museum, Santa Clara University, CA
1983 The Great American Cowboy, a traveling exhibition by the 1994 University of Puget Sound, Tacoma, WA
2001 Smith College Museum, Northampton, MA National Ornamental Metal Museum, Master Metalsmith
Library of Congress 1992 San Jose Museum of Art, San Jose, CA
2000 National Museum of Natural History, Washington, DC National Endowment for the Arts, Craftsman’s Fellowship
1980 8 Sculptors Create for the 80’s, Gallery of Contemporary 1990 Renshaw Gallery, Linfield College, McMinnville, OR
2000 Atelier 340 Museum, Brussels, Belgium New York State Foundation for the Arts Fellowship
Metalsmithing, Rochester, New York
1999 Skulpturenpark Rosental, Karnten, Austria National Endowment for the Arts, Craftsman’s Fellowship
1979 North American Sculpture Exhibition, Golden Colorado
1978 First National Spoon and Ashtray Show, Sangre de Christo Arts 1999 Compton Verney, Warwick, England (1999) National Endowment for the Arts, Craftsman’s Fellowship SELECTED PUBLIC COLLECTIONS
and Conference Center, Pueblo Colorado 1998 San Jose Museum of Art, San Jose, CA (1998) Australia National Council, Canberra, Australia
1978 Drinking Companions, John Michael Kohler Arts Center, 1997 Neuberger Museum of Art, Purchase, NY (1997) PUBLICATIONS National Gallery, Ottawa, Canada
Sheboygan, Wisconsin 1997 Spoleto Festival USA, Charleston, SC (1997) 2005 Penland Book of Jewelry “Gallery” Oakland Museum of Art, Oakland, CA
1976 Cowboy Images, Rebecca Cooper Gallery, Washington D.C. 1996 Copenhagen European Cultural Capital 96, Copenhagen, 2004 American Craft Magazine “Review: Pat Flynn” Palm Springs Desert Art Museum, Palm Springs, CA
1975 History of Photography as Subject Matter, Orange Coast College, Denmark 1996 Metalsmith Magazine “Making Things Right” Philadelphia Museum of Art, Philadelphia, PA
Carmel, California 1996 The American Craft Museum, NYC San Antonio Museum of Art, San Antonio, TX
1969 Fourth Bi-Annual Exhibition of Intermountain Painting and Sculpture, 1995 Kemper Museum of Contemporary Art & Design, Kansas City, TEACHING San Francisco Museum of Modern Art, San Francisco, CA
Salt Lake Art Center, Salt Lake City, Utah MO Haystack Mountain School of Crafts, Deer Isle, ME San Jose Museum of Art, San Jose, CA
1964 Midwest Bi-Annual, Joslyn Art Museum, Omaha, Nebraska 1995 Museo de Arte Carrillo Gil, Mexico City, Mexico Nova Scotia School of Art and Design, Halifax, Nova Scotia Stanford University, Palo Alto, CA
1994 Assen City Project, Assen, The Netherlands Oregon School of Arts and Crafts, Portland, OR Stedelijk Museum, Amsterdam, Netherlands
1994 Arte Sella, Trento, Italy (1994); Krakamarken, Randers, Denmark Parsons School of Design, New York, NY University of Arizona Art Collections, Tempe, AZ
GALLERIES 1993 Yorkshire Sculpture Park, West Yorkshire, England Vancouver Art Gallery, Vancouver, British Columbia, Canada
Penland School of Crafts, Penland, NC
Smith Klein, Boulder Colorado 1993 The Phillips Collection, Washington, DC Whitney Museum of American Art, New York, NY
J Cotter Gallery, Vail and Beaver Creek, Colorado 1993 Laumeier Sculpture Park, St. Louis, MO Fine Art Museum of San Francisco, San Francisco, CA
Jett Gallery, Santa Fe, New Mexico PERMANENT COLLECTIONS University of California, Santa Barbara, CA
1992 Kakitogawa Museum, Misima, Japan
Spiralz Gallery, Birmingham, Michigan Renwick Gallery, Smithsonian Institute, Washington, DC, Chicago Arts Little Rock Art Center, Little Rock, AK
1991 Manchester City Art Gallery, Manchester, England
Yaw Gallery, Birmingham, Michigan Institute, Chicago, IL Jane Voorhees Zimmerli Art Museum, Rutgers University, New
1990 DeCordova Museum and Sculpture Park, Lincoln, MA
Carlyn Gallery, Grand Haven, Michigan Nordenfjeldske Kunstindustri Museum, Trondheim, Norway Brunswick, New Jersey
Lake Hill House, Whitefish Bay, Wisconsin Rhode Island School of Design, Providence, RI Louisiana State University, Baton Rouge, Louisiana
Born: 1944, Corning, IA Charles A. Wustum Museum of Fine Art Racine, WI Norton Museum of Art, West Palm Beach, FL
Museum of Arts & Design, New York, NY
Samuel Dorsky Museum of Art, New Paltz, NY
COLLECTIONS
Blount Foundation
McDonalds Corporation
National Broadcasting Corporation
Wustum Museum of Fine Art, Racine, Wisconsin
Dorsky Museum, New Paltz, New York
 WILD GEESE: THE IRISH IN AMERICA

ANNE HYNES MATT KELLEHER THOMAS KERRIGAN SYDNEY LYNCH

Brooklyn, New York C/O Penland School, PO Box 37, P.O. Box 2456, Tucson, Born in 1951, New Haven, Connecticut
www.aphid-design.com Penland, NC 28765 AZ, U.S.A. 85702
anne@aphid-design.com (828) 766-6542 (520) 603-0730 EDUCATION
pothugger@aol.com Mottom38@yahoo.com BFA, University of Colorado, 1973
EDUCATION 1975-1981 Maintained studio in Boulder, Colorado
National College of Art and Design, Dublin, Ireland (BA, 1994) EDUCATION EDUCATION 1981-present Created and manages Sydney Lynch Jewelry, Inc. studio
Dual major/joint honors in the History of Art and Design and Glass 1999 M.F.A. (Ceramics), University of Nebraska-Lincoln, Lincoln, NE M.F.A. Degree, Ohio University in Lincoln, Nebraska
Design. 1997 M.A. (Printmaking), University of Northern Iowa, Cedar Falls, IA
1995 B.F.A. (Ceramics), Kansas City Art Institute, Kansas City, MO SHOWS AND GALLERIES
EXHIBITIONS SELECTED EXHIBITIONS Shows include: American Crafts Council, Baltimore; Premier Jewelry
2004 Pilchuck Teachers Exhibition, Washington, USA. EXHIBITIONS 2007 Artspace, Raleigh, North Carolina Two-person Invitational at the Buyers Market of American Crafts, Philadelphia; SOFA/ NY and
2003 Florida Craftsmen Gallery, Florida, USA. 2006 Penland Gallery One Kiln, One Firing (solo) Penland, NC Exhibition Chicago, Philadelphia Museum of Art Craft Show, Smithsonian Craft
1995 Guinness Gallery, Dublin, Ireland. Philadelphia Museum of Art Craft Show (Juried) Philadelphia, PA 2006 Red Deer College, Alberta, Canada Group Invitational Show, CraftBoston, Sun Valley Art Show, and numerous gallery shows.
1994 NCAD Degree Show, Dublin, Ireland. Market House Craft Center 14th Annual Strictly Functional National Odyssey Gallery, Asheville, North Carolina Group Invitational
(Juried) Lancaster, PA 2005 National Juried Exhibition, NCECA, University of Maryland, Represented in over fifty galleries in the USA, including Aaron Faber,
PROFESSIONAL EXPERIENCE Santa Fe Clay China Connection (Invitational) Santa Fe, NM Baltimore NYC; Chamade Jewelers, San Antonio, TX; Concepts, Carmel, CA; J.
Graphic Designer (1997 – Present) Artstream Artstream Tour 2006 (Invitational) Portland, OR, Obsidian Gallery, Tucson, Arizona Solo Exhibition Cotter Gallery, Vail, CO; de novo, Palo Alto, CA; Hoadley Gallery, Lenox,
Aphid Design, New York, USA. Cheyenne, WY, Helena, MT Tucson/Pima Arts Council, Tucson, Arizona Group Invitational MA; Jett Gallery, Santa Fe, NM, William Zimmer Gallery, Mendocino,
Plus Delta Consulting, Los Angeles, USA. 2005 Yixing Ceramic Museum International Teapot Competition (Juried) 2004 NCECA Conference, Indianapolis, Indiana Solo Exhibition CA.
Jemmalulu, New York, USA Yixing PR, China Obsidian Gallery, Tucson, Arizona Solo Exhibition
TBWA, Hong Kong. Newman University MIMI - A Show of Handles (Solo) Wichita, KS 2003 Columbus College of Art and Design, Columbus, Ohio
Euro RSCG, Sydney, Australia. Akar Gallery Three Emerging Artists (Three Person) Iowa City, Iowa Group Invitational PUBLICATIONS
Viper Productions, Sydney, Australia. Westnorth Gallery Centered by Land and Sky (Two Person) NCECA 2002 International Invitational Ceramics Exhibition Foshan, China Sydney Lynch’s jewelry has appeared in the following:
Picture Company, Dublin, Ireland. Baltimore, MD Red Deer College, Red Deer, Alberta, Canada Group Invitational Contemporary American Jewelry Design by Ettagale Blauer, 1991 Van
Cowlycounty Community College The Wood-fired Vase (Solo) Penn State University, Crafts National, College Park, Pennsylvania Nostrand Reinhold
Glass Designer (2001 – Present) Arkansas City, KS Metalsmith, Summer 1990; Fall, 1991; Winter, 1994; Winter, 1995:
Workspace11, Brooklyn, USA. 2004 Community Arts Center Out of the Fire (Juried) Wallingford, PA Recognition: Included in Who’s Who in American Art Spring, 1995
Kennedy Museum of Art Ohio University Faculty Biennial American Craft Magazine, Oct./Nov., 1990; Feb./March, 1991; April/May,
(Invitational) Athens, OH
Glass Production (1994 – 2000)
2003 Lincoln Arts & Culture Foundation Feats of Clay (Juried) Lincoln, CA
OCCUPATION 1993; Feb./March, 1995; Dec./Jan. 1998; Feb./March, 2000; June/July,
Sallie Portnoy Studios, Sydney, Australia. Artist and Professor Emeritus, University of Minnesota 2003
Dale Chihuly’s Team, “Chihuly over Venice”, Waterford and Dublin, Adleta Gallery Atmosphere (Solo) Canaanville, OH L Magazine, September, 2003
Ireland. 2002 Handworks Salzbrand 2002 (Juried) Koblenz, Germany Ornament, Fall, 1995; Fall, 1996; Winter, 1996; Sydney Lynch: Ladder to
Eltorp Glas, Orrefors, Sweden. Nicholls State University Utilitarian Ceramic National (Juried) INTERNATIONAL INVITATIONS Success Fall, 1997;
Thibodaux, LA 2007 & 2005 Guest Artist Workshop, Germany
Michel Bouchard Studio, Sancerre, France. Fall, 2000; The Medium of Memory, Summer, 2006
2002 Lecturer, International Ceramics Symposium, Foshan, China
Lapidary Journal, Controlled Chaos July, 1995; Facets, March, 1997
TEACHING EXPERIENCE PROFESSIONAL EXPERIENCE 1995 Artist-in-Residence, Australian National University, Canberra,
Niche Magazine, 2005, 2006
Australia
UrbanGlass, Brooklyn, NY, USA (September 2002 – September 2005) Penland School of Crafts - Penland, NC, Resident Artist (September 2005- Art Jewelry Today by Dona Z. Meilach, 2003 Schiffer Publishing, Ltd.
1994 Artist-in-Residence, Banff Center for the Arts, Banff, Canad
Kilnforming, Kilncasting and Glass Blowing Instructor Present)
Hartford Art School - Hartford, CT, Sabbatical Replacement (Spring 2005)
Pilchuck Glass School, Stanwood, WA, USA (August 2004) Wichita State University - Wichita, KS, Adjunct Professor (Fall 2004) COLLECTIONS
University of Alaska - Fairbanks Visiting Summer Faculty (Summer 2004) Museum of Art and Design, New York City
Glass Casting Teaching Assistant
Ohio University - Athens, OH, Visiting Assistant Professor (2003 - 2004) Los Angeles County Museum of Art
Shigaraki Cultural Ceramic Park - Shigaraki, Japan Columbus Museum of Art, Columbus, Ohio
Corning Glass School, Corning, NY, USA (July 2004)
Resident Artist (June-July 2003) Jack Lenor Larsen, New York City
Glass Casting Teaching Assistant
Wichita State University - Wichita, KS Judith Schwartz, New York City
Visiting Artist/Adjunct Professor (2001 - 2003) Sara & David Lieberman, Minneapolis
Jacksonville University, Jacksonville, FL, USA (June 2003)
Archie Bray Foundation for the Ceramic Arts - Helena, MT Pushkin Museum of Art, Moscow
Glass blowing instructor
Resident Artist (1999-2001) Stephan Janssen, Scottsdale, Arizona
Sallie Portnoy Glass Studio, Sydney, Australia (April 1998 – September
2000) Workshop Coordinator and Instructor PERMANENT COLLECTIONS
Yixing Ceramics Museum, Yixing, China
Archie Bray Foundation for the Ceramic Arts, Helena, MT
Newman University - Steckline Gallery, Wichita, KS
Wichita Center for the Arts, Wichita, KS
Emprise Bank, Wichita, KS
 WILD GEESE: THE IRISH IN AMERICA

CAROLINE MADDEN NANCY MOORE BESS HAROLD O’CONNOR SEAN O’MEALLIE

8618 Emerald Isle Circle South Jacksonville, FL 32216 186 Harkness Road P.O. Box 416 917 East Yampa Street
Mobile: 0868495346. Telephone: 0719624243. Email: Amherst, MA 01002 Salida, Colorado 81201 Colorado Springs, Co 80903-2745
myhottea@aol.com NancyBess@aol.com dunconor@yahoo.com somealli@uccs.edu

EDUCATION
Massachusetts College of Art, Boston. Master of Fine Arts in Fine Arts
3D. Stourbridge College of Technology and Art, England. Bachelor of
Arts (Hons.) in 3D Design.
EXHIBITIONS
2007 Wild Geese, invitational exhibition., Crafts Council of Ireland
2005-08 Forty Shades of Green, invitational exhibition, Crafts Council
of Ireland
2002-05 Irish Contemporary Glass, juried exhibition, Ireland, 19/08.
2002-04 Florida Craftsmen’s 50th Anniversary Exhibition,
uried exhibition, FL
2002 Visions of the North Florida Environment, invitational, Florida
State University’
PROFESSIONAL EXPERIENCE
2006-2007 Lecture. National College of Art & Design, Dublin, Ireland.
1992-2006 Professor of Art, Head of Glass and Sculpture
Concentrations. Jacksonville University, FL.
2004-2005 Visiting Lecturer. National College of Art & Design, Dublin,
Ireland.
2001-2002 Visiting Assistant Professor of Art. Glass Program of the
School for American Crafts Rochester Institute of Technology, New
York.
1996-2004 Director, and co-founder. The Glass Institute of the
Southeast, Jacksonville University (JU).
2001, 2003 Director. Governors Summer School Program for Gifted and
High Achieving Students, JU.
WORKSHOPS, DEMONSTRATIONS AND LECTURES
2006 Panelist. Glass Education: A Gateway to Success or Failure. Glass
Art Society.
2005 Instructor. Fire Station, Dublin, Ireland
Instructor. Pittsburgh Glass Center, Pittsburgh
Instructor. Urban Glass, Brooklyn, New York
2004 Instructor. Volusia County PublicSchool
Art Teachers, Daytona Beach
Instructor. Pittsburgh Glass Center, Pittsburgh
Instructor. Pilchuck Glass School, Seattle, WA.
Instructor. Fire Station, Dublin, Irelan
Lecture. Personal Work, the Ulster Museum, Belfast
Lecture. Glass Art in America, the National Museum of Ireland
2003 Demonstration. Florida State University, Museum of Fine Arts, FL.
Demonstration. The Mary Brogan Museum of Arts & Sciences. 14-16/03.
2002 Lecture. Personal Journey as Artist, Alfred University, Suny, NY
Lecture. Site Specific Sculpture, Museum of Fine Arts, Florida State
University FL
INTERNATIONAL EXHIBITIONS Born in Utica, New York, U.S.A. SOLO EXHIBITIONS
2007 National Craft Gallery, Kilkenny, Ireland, Wild Geese: 2008 LeMieux Gallery / New Orleans, LA
The Irish in America EDUCATION 2007 Estel Gallery / Nashville, TN
2006 National Crafts Council of Ireland, Kilkenny, Ireland, University of New Mexico, BUS Degree 1970 2005 Savageau Gallery / Denver, CO
Fiber: A New World View Instituto Allende, Mexico, MFA Degree 1972 2004 Sylvia Schmidt Gallery / New Orleans, LA
1998 Gallery of Art, Szombathelyi, Hungary, National Arts and Crafts School, Copenhagen, Denmark 1965 2002 Sangre de Cristo Arts and Conference Center / Pueblo, CO
Biennial of Minitextiles Int’l National Arts School, Helsinki, Finland 1966
1998 Barbican Centre, London, Threads: Contemporary American College of Art and Design, Pforzheim, Germany 1966-1967 TWO PERSON AND GROUP EXHIBITIONS
Basketry International Summer Academy of Fine Arts, Salzburg, Austria 1972 Galleries -
1998 Textiles: 4th International Competition, Nagoya, Japan 2008 LeMieux Gallery, New Orleans, Louisiana
AUTHOR 2007 Estel Gallery, Nashville, Tennessee
MUSEUM, ORGANIZATION & UNIVERSITY EXHIBITIONS The Jeweler’s Bench Reference 2006 Mobilia Gallery, Cambridge, Massachusetts
2005/06 Arizona State University Art Museum, Tempe, Intertwined: The Flexible Shaft Machine 2005 Savageau Gallery, Denver, Colorado
Contemporary Baskets from The Sara and David Lieberman Collection 2004 Sylvia Schmidt Gallery, New Orleans, Louisiana
2005 Long Beach Museum of Art, Engaging Nature: WORKSHOPS 2003 Bryan & Scott Jewelers, Colorado Springs, Colorado
Contemporary Baskets from the Collection of Lloyd and Margit Cotsen Conducted over 200 workshops throughout the world including 2002 Cultureclash Gallery, Salida, Colorado
2005 Racine Art Museum, Racine, Magnificent Extravagance: Portugal, Estonia, Japan, Korea, New Zealand, Canadian Artic, 2001 Chaffee County Arts Center, Buena Vista, Colorado
Arts and Opulence Romania and Peru. 2000 Sofia Georg Gallery, Denver, Colorado
2005 Contemporary Jewish Museum, San Francisco, Scents of Purpose,
2004 New Hampshire Institute of Art, Manchester, Museums -
GALLERIES
Traditional Craft/Contemporary Art 2007 The National Craft Gallery of Ireland , Kilkenny, Ireland
Aaron Faber Gallery, New York City
2004 Craft & Folk Art Museum, Los Angeles, Celebrating Nature 2006 Pikes Peak Community College, Colorado Springs, Colorado
Representation: Connell Gallery, Atlanta, Georgia
2003/07 The Society for Arts and Crafts, Boston, 2003 The Rockford Art Museum, Rockford, Illinois
Mobilia Gallery, Cambridge, Massachusetts
No Boundaries: Contemporary Basketry, Traveling 2002 The Sangre de Cristo Arts Center, Pueblo, Colorado
Patina Gallery, Santa Fe, New Mexico
2003 The Society for Arts and Crafts, Boston, 2001 The University of Colorado, Colorado Springs, Colorado
Mesa Edge Gallery, Taos, New Mexico
Words-Text-Stories, Fontbonne 2000 The Arkansas Art Center, Little Rock Arkansas
2003 University Gallery of Art, St. Louis, Raking Stones, 1997 The Colorado Springs Fine Arts Center, Colorado Springs,
2003 Hunterdon Museum of Art, Clinton, NJ, The Art of Containment COLLECTIONS Colorado
A practicing goldsmith/teacher for 40 years. His works can be seen in 1995 The University of Colorado, Boulder, Colorado
public collections including:
INVITATIONAL EXHIBITIONS, U. S. GALLERIES
The National Ornamental Metal Museum, Memphis, Tennessee
Andora Gallery, Carefree, AZ BOOKS
The Goldsmith’s Hall, London, England
browngrotta arts, Wilton, CT Launching the Imagination, McGraw-Hill Higher Education, ISBN 0-07-
Victoria and Albert Museum, London, England
Cervini Haas Gallery, Scottsdale, AZ 287061-3
Cesky Raj Museum, Turnov, Czech Republic
del Mano Gallery, Los Angeles, CA Teapots: Makers & Collectors, Schiffer Books, ISBN 0-7643-2214-1
The State Art Gallery, Legnecia, Poland
Jane Sauer/Thirteen Moons Gallery, Santa Fe, NM
The German Goldsmith’s Society, Hanau, Germany
R. Duane Reed Gallery, St. Louis, MO
The Metropolitan Museum of Art, New York City COLLECTIONS
Snyderman - Works Galleries, Philadelphia, PA Sparta Teapot Museum, Sparta, North Carolina
The Smithsonian Institute, Washington, D.C.
The Museum of Decorative Arts, Little Rock, Arkansas
COLLECTIONS The Colorado Springs Fine Arts Center, Colorado Springs, Colorado
American Crafts Museum The Sangre de Cristo Arts Center, Pueblo, Colorado
Arkansas Arts Center The City of Denver, Colorado
Charles A. Wustum Museum of Fine Arts The State of Colorado
Erie Art Museum

COLLECTIONS
The Ulster Museum Belfast Northern Ireland, cast glass work, Shattered
Cycle
The National Museum of Ireland, cast glass work, Untitled.
Times-Union Center for the Performing Arts, Jacksonville. Lyrical Light.
Lough Boora Parklands, installed site-specific sculpture, Cycles.

TEDD R McDONAH
1509 South Farmer Ave, Tempe,
AZ 85281
480.736.1168
mcfishkids@aol.com
EDUCATION
1998 – 2001 Arizona State University
Master of Fine Arts;; Jewelry and Metalsmithing
May 2001, Deans List, GPA 4.00, Tempe, AZ
1991 – 1996 University of Wisconsin-Lacrosse
Bachelor of Science in Art: Emphasis in Metalsmithing. May 1996,
LaCrosse, WI
SELECTED EXHIBITONS
2006 Legacy of an Artist and Educator: David Pimentel
Invitational, Mesa Contemporary Arts at Mesa Art Center,
Mesa, AZ
2005 Jewelry + Objects 2005, Michigan Silversmiths Guild 2005
Ann Arbor Art Center, Ann Arbor, MI
Best of 2005, Ohio Designer/Craftsmen 2005 Juried Traveling
Exhibition
Wall to Wall: Indoor Sculpture, Invitational
Flatlanders Art Galleries, Blissfield, MI
2004 Glass, Clay, Wood, Stone, Metal and Fiber: The Art of Contemporary
Crafts Invitational, University of St. Francis, Fort Wayne, IN
26th Annual Contemporary Crafts, Mesa Contemporary Arts
2003 From Wisconsin & Beyond, Two-person Show
Bemidji Community Art Center, Bemidji, MN
2002 Beads 2002. International/Invitational, Wooster, OH and Tokyo,
Japan
Metals From Around the Midwest, Invitational, Western Illinois
University Art Gallery Western Illinois University, McComb, IL
Innovative Tools for Personal Use, 3M/SNAG, International juried
exhibition.
RECREATION ReCREATION, Invitational, Noyes Museum of Art,
Oceanville, NJ. Curator: Bobby Hansson.
SELECTED TEACHING EXPERIENCES
1998, 2006 Phoenix Center for the Arts, Phoenix, AZ
Adult Education classes, casting-cuttlebone, lost-wax, organics
2004 – 2006 University of Toledo, Toledo, OH
Visiting Assistant Professor/Visiting Head of Metalsmithing and
Jewelry
2004 Wayne State University, Detroit, MI
Adjunct Faculty, Blacksmithing/Metalsmithing, School of Art
2002 – 2006 Toledo Museum of Art, School of Art and Design, Toledo,
OH
Adult and youth Blacksmithing / Metalsmithing classes;
12 week sessions
SELECTED PROFESSIONAL EXPERIENCE & LECTURES
2006 Public Lecture: Current works / Mokume-gane.
Pima Community College, Tuscan, AZ
2005 Public Lecture: Contemporary Blacksmithing.
Opening reception and lecture “Hard and Heavy, Iron and Steel”
Bemidji Community Arts Council, Bemidji, MN
Chief Demonstrator: Northwest Ohio Blacksmiths.
Mokume-gane, “Visual Elements in Steel”, and finishes on steel 2004
Public Lecture: University of Minnesota-Morris.
A(p)parent Appreciation-Opening reception and lecture
Guest Artist and Lecturer: Bowling Green State University. Bowling
Green, OH. Mokume-gane: The Wood-Grain Metal.
WILD GEESE: THE IRISH IN AMERICA
ANDREW SHEA JOHN BOYD SMITH PAUL JOSEPH STANKARD
2600 31 Avenue South 315 East 51st Street Savannah, Georgia 31405 8 Old Landing Road
Minneapolis, MN 55406 Phone 912-234-2651 Cell 912-655-9448 Fax 912-234-9490 Mantua, NJ 08051
612 332 5842 www.johnboydsmith.com T: 856-468-6348
Sheaglass@aol.com F: 856-464-8292
NATIONAL TELEVISION pstank4955@aol.com
Born the 11th December, 1947 This Old House Public Broadcasting System 1995 www.paulstankard.com
Modern Masters Series, HGTV 1998
EDUCATION Gothic Lamp Segment, CNN 1986 Born in 1943 Attleboro, Massachusetts
1978-Present Self Employed Glass Artist Good Morning America, ABC 1997
1982 Glass Workshop with Dick Marquis EDUCATION
1980 Glass Workshop with Bertil Vallien INTERNATIONAL METALWORK BOOKS 1963 Salem Community College Pennsgrove, New Jersey
1978 University of Minnesota MFA Studio Arts, Glass Architectural Ironwork, Schiffer Publishing 2001 1997 Rowan University Honorary Doctor of Fine Arts Glassboro, New
1976 University fo Minnesota BA Studio Arts, Glass Fireplace Accessories, Schiffer Publishing 2003 Jersey
1974 University of Minnesota BES Ironwork Today, Schiffer Publishing 2006
Ironwork of Savannnah, T.D. Conner 2004 SELECTED SOLO EXHIBITIONS
SELECTED EXHIBITIONS Paul Stankard: A Floating World – Forty Years of an American Master in Glass,
2007 Wild Geese, National Crafts Gallery, Irish Craft Council. MAJOR MAGAZINES Museum of Arts and Design, New York, NY
Kilkenny, Ireland, Southern Accents Magazine Numerous times Death, Sex, and God: Paul Stankard, Canadian Clay and Glass Gallery,
2006 - 1997 Invitational Glass Exhibit, Art Resources Gallery, This Old House Magazine 1997 Ontario, Canada
Edina, Minnesota Interior Design Magazine 1998 Poetic Vision of Nature: The Solo Exhibition of Paul Stankard, Tittot Glass Art
1999 Invitational Glass Exhibit, Kane Marie Fine Art, Virginia Southern Living Magazine Numerous times Taipei, Taiwan, 2003
Beach, Virginia Carolina Architecture and Design Numerous times Paul Stankard: Homage to Nature – A Thirty Year Retrospective, Fuller
1999/97/95 Smithsonian Craft Show, National Building Museum, Spirit of the Carolinas Magazine 2000 Museum of Art, Brockton, MA, 2002
Washington DC
1996-1993 New Art Forms (SOFA) MC Gallery, Navy Pier, Chicago, Illinois
MAJOR AWARDS PROFESSIONAL ASSOCIATIONS
1996 International Frankfurter Messe, ASIA, Georgeo’s Collection, 1999- Present: Faculty, Glass Art, Salem County Community
Lifetime Recognition Award, American Institution of Architects
Frankfurt, Germany CollegeSalem, NJ
State of Georgia 1999
1996 International Makhari Messe, Georgeo’s Collection, Tokyo, 1985- Present: Faculty Penland School of Craft Penland, NC
Historic Savannah Foundation Award, 1988
Japan
Wild Geese, Exhibition, National Craft Gallery of Ireland 2007
1995 Tokyo Art Expo, Perspectives Gallery, Tokyo, Japan
1994 Ohio Collects Studio Art Glass, The Ohio Craft Museum,
SELECTED PUBLIC COLLECTIONS
Columbus, Ohio ARCHITECTURAL Art Institute of Chicago, Chicago, IL
1993 The American Hand:Fifty Years of Crafts, Minnesota Museum Major Metalwork Commissions ——-Luxury Hotels and Luxury private Boston Fine Arts Museum, Boston, MA
of Art, St. Paul, Minnesota residence throughout U.S.A. and Caribbean for the past 25 years. Birmingham Art Museum, Birmingham, AL
1985 Utility Plus, Minneapolis Institute of Arts, Minneapolis, Cleveland Museum of Art, Cleveland, OH
Minnesota Metropolitan Museum of Art, New York, NY
1983 New Glass/Minnesota, University of Minnesota Art Museum, Musee des Arts Decoratif, Palais du Louvre, Paris, France
Museum of Arts and Design, New York, NY
Minneapolis, Minnesota
Museum of American Glass, Wheaton Village, Millville, NJ
1982 GLASS, Kresge Gallery, Minneapolis Institute of Arts
1981 Great Lakes Glass, Elvehjem Museum, University of Museum of Glass: International Center for Contemporary Art, Tacoma,
WA
Wisconsin, Madison, Wisconsin
1976 Glass Art Society Show, Corning Museum, Corning, New York New Orleans Museum of Art, New Orleans, LA
Philadelphia Museum of Art, Philadelphia, PA
Renwick Gallery of the National Museum of American Art,
AWARDS Washington DC
Main Street Arts Festival, Fort Worth, Texas Juror's Award 2006 Tittot Glass Art Museum, Taipei, Taiwan
Winter Park Art Festival, Orlando, Florida Award of Distinction 2005 Victoria & Albert Museum, London, England
Best of Show, Glass 2000 Glass 2nd Place 1990
Edina Art Fair, Minneapolis,Minnesota Award of Merit 2006 Award Of
Excellence 2003
Port Clinton Art Festival, Highland Park, Illinois Scott Davis Glass Award
2006, First Place, Crafts-Three Dimensional, 1999
Uptown Art Fair, Minneapolis, Minnesota Best of Show, Glass 1985-
1996Miami Beach Festival of Arts, Miami Beach, Florida Glass Award
1995,1994, Glass-2nd Place 1996
COLLECTIONS
Fredrick R. Weisman Museum, University of Minnesota
Rockford Art Museum, Spies Collection, Rockford, Illinois
Muskegon Museum of Art, Muskegon, Michigan
PAULA STOKES
1125 8th Ave West, Seattle, WA 98119
206 285 9886
paula_stokes@hotmail.com
EDUCATION
2003-2005 Post baccalaureate studies in Printmaking, University of
Washington
1992 Certificate in Glassmaking and Technology, International Glass
Centre, Brierley Hill, England
1991 Bachelors Degree (Honours) in Design (Glass), National College of
Art and Design, Dublin, Ireland
SELECTED EXHIBITIONS
2007 4x Abstraction, Artpatch Gallery, Seattle
Wild Geese, Irish Crafts Council, Kilkenny, Ireland
2006 SPA Group Show, Center of Contemporary Art, Seattle, WA
Points of Reference, Pratt Fine Arts Center, Seattle, WA
(solo show)
North by Northwest, Kala Institute, Berkeley, CA
Works on Paper, Jacob Lawrence Gallery, Seattle, WA
BFA Show, Jacob Lawrence Gallery, Seattle, WA
Pratt Instructors’ Show, Rainier Club, Seattle, WA
Group Show, Recovery Café, Seattle, WA
SPA Group Show, Shenzhen Art Institute, China
Six in the City, Seattle Art Museum, Seattle, WA
Works on Paper, Jacob Lawrence Gallery, Seattle, WA
25th Paper in Particular National Exhibition, Columbia College,
MO
Contemporary Irish Glass Art, National Museum of Ireland
Works on Paper, Jacob Lawrence Gallery, Seattle, WA
Contemporary Irish Glass Art, Waterford, Ireland
Artists in my Area, Bubba Mavis Gallery, Seattle, WA
AWARDS/GRANTS
2004 University of Washington: Milnora Roberts Award for Academic
Excellence
1991 Finnish Ministry of Education: Travel grant for design, language
and culture
PROFESSIONAL EXPERIENCE
Teaching
Pilchuck Glass School, (2005)
Pratt Fine Arts Center, Seattle (1995-2005)
Museum of Glass, Tacoma (2002)
University of Washington, Tacoma (2002)
Seattle Glassblowing Studio, Seattle (2002-2005)
Urban Glass, Brooklyn, NY (1998)
Beginning and intermediate glass blowing
National College of Art and Design, Dublin, Ireland (1997-2000)
PUBLICATIONS
Winter 2004-2005 Neues Glas
March 2004 Sunday Tribune, March 7, 2004, p.15, illus.
September 2003 The Irish Arts Review, p.52, illus.
September 2003 Inspirational Awakening, Irish Contemporary Glass
2003, pp. 5 &30
August 2003 The Irish Times, August 23, 2003
REBECCA RUBALCAVA WILLIAMS
EDUCATION
1989 University of California, Los Angeles, MFA, Fiber Arts,
1985 NCAD, Dublin, Ireland, graduated ,Woven Textiles.
SELECTED EXHIBITIONS
1999 Community College of Southern Nevada, Las Vegas, Nevada.
1993 Annex Gallery, Biola University, La Mirada, California.
2005 FIDM. Museum, The Fashion Institute of Design &
Merchandising, Los Angeles, California.
2002 A Passion to Sustain, Chattahoochee Valley Art Museum,
LaGrange, Georgia
1997 FIBERART INTERNATIONAL =97, Pittsburgh Center for the Arts,
Pittsburgh, Pennsylvania.
1994 Matrix International 94, Sacramento, California.
1989 Wight Art Gallery, University of California, Los Angeles,
California.
TEACHING EXPERIENCE
2005, Instructor, Textile Design Class. Fashion Institute of Design &
Merchandising, Los Angeles, California
2005 Instructor, Art History (Art through the Ages) Los Angeles Trade -
Technical College, Los Angeles, California,
2004 Instructor of Tapestry Weaving at Santa Monica College,
California
1986 —90 Instructor of Woven Textiles at FIDM. Los Angeles, California
1988 —89 Teaching Associate, Beginning Color Theory & 3-D Design
UCLA, California
DESIGN EXPERIENCE
2005 Senior Designer, Taiping Carpets, Pasadena, California
2002 -2005 Design Consultant, Fine Design, Pasadena, California Lees
Carpets, Virginia, Masland Carpets, Alabama
1999 - 2002 Director of Design, Bentley/Prince Street Technologies,
California
1994 - 1999 Senior Pattern Designer, Monterey Carpet Mills, Santa Ana,
California.
1993 - 1994 Designer, Tuftex Carpet Mills Industries, California.
1989 - 1993 Pattern Designer, Atlas Carpet Mills, Commerce, California.
AWARDS
2002 Judges= Best in Show Award, a Passion to Sustain, LaGrange,
Georgia
2001 Brabourne, Hyperion, Moorfield, Bentley Mills, The Doc Award
1999 The Museum Collection, Monterey Carpets, Gold Award, best of
Broadloom, Neocon, Chicago, Illinois
1998 The Spoolcraft Collection, Monterey Carpets, Silver Award, best of
Broadloom, Neocon, Chicago, Illinois
1992 The Interweave Design Library, Atlas Carpet Mills, Gold Award,
Institute of Business Design and Contract Magazine Product Design,
New York.
1992 Archives, Atlas Carpet Mills, Silver Award, Institute of Business
Design and Contract Magazine Product Design, New York.
1988 - 89 Research Grant, University of California, Los Angeles,
California.
1988 - 89 Anderson Award, University of California, Los Angeles,
California.
1988 - 89 Philip Rosenberg Scholarship, UCLA, Los Angeles, California
1987 - 88 Ann Bing Arnold Award, UCLA, Los Angeles, California
CRAFTS COUNCIL OF IRELAND
The Crafts Council of Ireland (CCoI) is the national economic development
organisation for the craft industry in Ireland and is funded by Enterprise Ireland.

The Council acts on the industry’s behalf

• by advising government and state agencies on issues affecting the industry
• by assisting the industry in promotion and marketing
• by assisting vocational craft and design training

NATIONAL CRAFT GALLERY

The Crafts Council of Ireland, set up the National Craft Gallery (NCG) in December 2000.
NCG runs a dynamic, national and international exhibitions programme which aims to:

• Stimulate quality, design, innovation and competitiveness in the craft sector

• Communicate the unique cultural and commercial attributes of craft
• Promote the importance of quality to consumer and craft manufacturer alike
• Stimulate innovation in design and manufacture via special exhibition themes
• Encourage mutual transfer of exhibitions with other international craft agencies

Further information on Crafts Council of Ireland projects and programmes is available from:

Crafts Council of Ireland

Castle Yard, Kilkenny.
t: 353 (0)56 7761804
f: 353 (0)56 7763754
e: info@ccoi.ie
w: www.ccoi.ie

Exhibitions Programme Manager: Vincent O Shea

Gallery Assistant: Brian Byrne

Press: Helen Carroll

WILD GEESE EXHIBITION

Curator: Kevin O’Dwyer
Catalogue: Kevin O’Dwyer
kodwyerdesign@eircom.net

Editing: Eleanor Flegg

Design: Oonagh Young & Robin Watkins, Design HQ

oonagh@designhq.ie
 WILD GEESE: THE IRISH IN AMERICA

WILD GEESE: THE IRISH IN AMERICA

BOYD SMITH, BRISCOE,
BROLLY, COTTER,
DOUGHERTY, FLYNN,
GILHOOLY, HYNES,
KELLEHER, KERRIGAN,
LYNCH, MADDEN,
MOORE BESS, O’CONNOR,
O’MEALLIE, McDONAH
RUBALCAVA WILLIAMS,
SHEA, STANKARD, STOKES.