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THURSDAY, MARCH 20, 2025 www.italoamericano.org 28 L'Italo-Americano E v e n i f c r e e p y crawlers are not your thing, there is plenty to see and appreciate at F i e l d N o t e s : A r t i s t s O b s e r v e N a t u r e , a n e w exhibit at the Museum of G l a s s i n T a c o m a . T h e installation features 18 con- temporary glass artists who have meticulously captured the delicate details, astonish- ing patterns, and vibrant col- o r s o f i n s e c t s , b i r d s a n d plants. One of the stand-outs of the show is the display of 310 lampworked glass insects – each life-sized and entomo- logically correct – by Italian glass artist Vittorio Costan- tini. Born in 1944 on Bura- no, an island in the lagoon of Venice near Murano, Costan- tini's father was a fisherman and his mother a lace maker – common professions for that generation. At the age of 11, he began an apprentice- ship at a glass furnace. The work appealed to him and b e f o r e h e w a s 3 0 , h e h a d o p e n e d h i s o w n s t u d i o i n Venice. As a child, Costantini was fascinated with nature, espe- cially insects, and he eagerly studied their movements, life c y c l e s a n d h a b i t a t s . T h i s interest in natural forms paid off later in the accuracy and realism that characterize his glass art. He uses lampwork- ing, a technique employing a torch or other heat source (historically, a lamp) to work and shape the glass. But it's not just bugs that enthrall him. Over the years, Costantini has created birds, fish, seashells and colorful flowers – most of them found on the islands and waterways near Venice. His glass art is so lifelike that it's been said it could be used as a teaching tool. F i e l d N o t e s w a s t h e inspiration of guest curator L i n d a T e s n e r , f o r m e r director of the Ronna and Eric Hoffman Gallery of Con- t e m p o r a r y A r t a t L e w i s & Clark College in Portland, Oregon. Previously, Tesner was assistant director at the Portland Art Museum and d i r e c t o r o f t h e M a r y h i l l Museum of Art in Golden- dale, Wash. She chose the exhibit's title, "Field Notes," for its reference to the obser- vations — in both words and images — that natur al ists make while in the field. "Artists observing nature is a theme as old as time," she said. "I love the tradition and continuity that is sug- g e s t e d b y c o n t e m p o r a r y artists in this subject matter – the adherence to realistic representation or intentional deviation, the sense of mar- vel that these artists experi- ence in the natural world, and the emotive potential in natural history subjects. I hope that visitors will leave with a sense of wonder." Field Notes demonstrates how artists mimic the forms and patterns of nature. It begins with the Art Nouveau period (1890 – 1910), an era characterized by blossoms, birds and insects, along with sinuous organic tendrils. The overall composition was a reaction against the academ- ic style of the previous centu- ry. More than 100 years later, today's glass artists are still finding inspiration in the natural world. One example o n d i s p l a y i s t h e N a t i v e Species series by William Morris. Morris has created a m e t a p h o r i c a l " w a l k " through a Northwest forest, where visitors can view ves- sels filled with hot-sculpted p i n e c o n e s , p i n e n e e d l e s , deciduous leaves and birds. The artists Joey Kirk- patrick and Flora C. Mace focus on birds. Using tradi- tional ornithological illustra- tion as a starting point, the d u o d r a w s b i r d s i n g l a s s p o w d e r o n g l a s s " p a g e s . " They also collect botanical specimens which they pre- serve in blocks of composite and glass. Besides documenting the b e a u t y a n d f r a g i l i t y o f n a t u r e , F i e l d N o t e s a l s o helps viewers appreciate the delicate balance of ecosys- tems and the importance of observing nature closely. This focus on the natural world is a refreshing change for the museum, says curator K a t i e B u c k i n g h a m . "While we are surrounded by t h e n a t u r a l b e a u t y o f t h e Pacific Northwest," she said, "it's not often we get to wel- come nature into the muse- um. Field Notes is an engag- ing opportunity for those who love being outdoors to see how artists render natur- al details in glass." During your visit, be sure to check out the education studio where an immersive installation called Bugs Can Dream, Too by artist Phil R o a c h i s o n d i s p l a y , inspired by Costantini's glass s p e c i m e n s . N e a r b y a r e examples of vintage insect specimens from the Museum o f N a t u r a l H i s t o r y a t t h e University of Puget Sound. The idea to juxtapose art with nature helps visitors reflect on the meaning of the natural world and the impor- tance of insects to nature. Questions are posed: Do we want insects to be around for future generations? How is n a t u r e s h a p e d b y h u m a n activity? At the education studio, visitors can consider these and other observations w h i l e m a k i n g t h e i r o w n "trash bugs" out of found materials available in the studio. More than anything, cura- tor Tesner hopes that muse- um visitors will enjoy the beauty of the contemporary glass art. "If it triggers other responses – say, someone is reminded to visit their local botanical garden or to hang a bird feeder – well, that's a bonus," she said. F i e l d N o t e s : A r t i s t s Observe Nature will be at the Museum of Glass through June 15, 2025. The museum is open Wednesday through Sunday; there is free evening a d m i s s i o n o n t h e t h i r d Thursday of the month. RITA CIPALLA Glass masters bring nature to life in new exhibit at Tacoma's Museum of Glass The education studio at the Museum of Glass features a large immersive installation with the mural "Bugs Can Dream, Too" by artist Phil Roach as its centerpiece (Museum of Glass). Bottom left, Glass beetle by Vittorio Costantini, part of Entomological Specimens, George R. Stroemple collection, a Stroemple/Stirek collaboration (© Museum of Glass) SEATTLE ITALIAN COMMUNITY