Philadelphia Glass Works - P.A.W. Print - Philadelphia Arts Writers

An attractive sign in orange and white juts out over the sidewalk, giving life to an otherwise nondescript three-story building. Crumbling walkways along the street suggest there is not a lot of foot traffic around here, but cars line up at the stop light when it turns red. Earlier this year, Philadelphia Glass Works opened shop at this intersection of Spring Garden and 31st Street, one of the main gateways between West Philly and Center City.

Philadelphia Glass Works is the only public lamp working studio in the city. Lamp working is a method of softening and fusing glass in the flame of a torch. Widely used by bead makers, it has many applications. Owners Nathan Purcell and Ian Kerr, define the studio as "a young artist cooperative dedicated to promoting the growth of fine art and the development of flame [lamp] working in Philadelphia."

After a year of renovations and start-up effort, the studio opened to the public in January. Purcell discovered the spot in 2003 and recognized its potential despite the poor condition of the building's interior. The building had been "shuttered for around ten years," Purcell recalled.

Kerr added, "There must have been ten phone lines running around the walls. And there were staples and holes in the walls. We did a lot of work on this place."


Nathan Purcell, PGW co-owner, at the head of his glass. photo, S. Pauley

With Kerr managing the studio's business and Purcell teaching and producing work for sale, Philadelphia Glass Works is rapidly establishing itself as a focal point of lamp working glass art-- in the city and beyond. Eleven artists from around the country participated in the studio's opening events, which included lamp working demonstrations and an open house. Kerr and Purcell plan on bringing in guest teachers for future workshops and classes. They already hold open studio public demonstrations to introduce newcomers to the craft and are an official distributor of glass working supplies such as North Star color.

Before opening to the public, Kerr and Purcell knew they wanted to create a professional studio that was comfortable as well. They filled most of the holes in the wall, painted the floor, had lines for propane and oxygen hard-piped in, and built the studio according to Purcell's design. Josh Opendaker, the studio's resident artist who has been with them almost from the beginning, pointed out, "Nate (Purcell) designed the whole space, including the hood [the exhaust system]. It's a Colorado-style hood that Nate modified."

Suspended above the two work tables, the hood certainly is impressive-looking. Four industrial-fabricated metal curtains drop down from the hood to the table top and divide it into four workspaces for Purcell, Opdenaker, and other regulars who rent space from the studio. A rectangular extension of the hood hangs above a second table where six workspaces are available for students and artists who want to rent studio time. Despite the hood's notable presence and the wall lined with four kilns, the studio is not a hot, dark, industrial space like many studios are. When the metal shutters on the windows are raised in the afternoon the studio is bright and welcoming. In addition to the workspaces, there are attractive displays of work, a couch, and on a recent Friday afternoon, at least, a couple of dogs. The studio's casual, non-pretentious atmosphere is well suited to inspire creativity and learning.

Despite the laid-back nature of the studio, Kerr and Purcell have instituted a rule that no one is allowed to use the space or equipment to create pipes, for any use. They have several reasons for the rule, including recent legislation that gives unwanted attention to distributors and makers of glass pipes, the public nature of the studio, and their artistic sensibilities.


	The Colorado-style hood exhaust system designed by Nathan Purcell. photo, S. Pauley

The ban on pipe-producing notwithstanding, artists can create virtually anything they dream up. Goblets, small sculptures, and jewelry are just the beginning. Lamp workers use methods similar to those used by the Venetian artisans whose decorative glass has been famous for hundreds of years. Lamp workers heat the glass with a torch and then manipulate the glass. Philadelphia Glass Works' torches are powered by a mixture of propane and oxygen. Heated glass must be turned on an axis to keep it together. Using small tools, a deft touch, and a controlled flame, artists shape the glass. Kilns help control the temperature of the glass as it cools to prevent cracking. Compared to other types of glass work such as glass blowing, lamp working offers the advantages of a smaller scale. It requires less work space, enabling the artist to create more detailed, intricate objects, and is more cost efficient.

Purcell has some dazzling sculptural plants that he made from colored glass on display at the studio, and a goblet of his is currently exhibited at the Snyderman-Works Galleries in a goblet show. A glass skirt he made was featured not too long ago in a fashion show in New Orleans. Opdenaker makes exquisite earrings. And one of the best pieces on display in the studio is a necklace designed by Purcell and made by Opdenaker.

Talking about his first visit to an accountant to learn about how to create a business, Purcell explains the origins of the name Philadelphia Glass Works. Judging by Opdenaker's reaction, an 'I know what comes next' smile, this is a story that has been heard many times around the studio. When his accountant asked about the proposed name of the studio, Purcell, caught off guard, claims to have looked down and seen some bills on the table in front of him, including a bill from the gas company. The name Philadelphia Glass Works was conceived on the spot.

The future looks promising for Philadelphia Glass Works and for lamp working in general in Philadelphia. The studio is fashioning itself as a one-stop supplier of space, materials, tools, instruction, information and camaraderie for the area's experienced and budding lamp workers. As evidence of the studio's growing popularity, the artists were invited by the organizers of the Philadelphia Folk Festival this spring to give lamp working demonstrations at this year's festival (August 27 to 29). They will be exhibiting their work for sale at two booths at the festival. Outgoing and enthusiastic about their art, someone from Philadelphia Glass Works is always ready to talk about what is happening at the studio, and they have good reason to be excited.

Philadelphia Glass Works can be reached at (215) 222-7336. Look them up on the web at www.phillyglassworks.com.