Private Edition Magazine ~South Africa
Words: Martin Jacobs
Jan 2023
‘It’s not just thinking about the material as something that’s here to serve US, it’s about how we can serve the material. How can we show it compassion.’
Pictured: WILD FLOWERS by Juli Bolaños-Durman & Jorum Studio 2019. Photography Credits: Shannon Tofts
‘Harewood House presents exhibition of ‘traditionally untraditional’ Christmas trees’ on Dezeen
Words Amy Frearson
Photography Tom Arber
STACKINGS my latest project in partnership Jonny Taylor for Harwood House Trust
Reclaimed wood and glass collected from the community 〰️Reimagined
Read the whole article
Elle Decor France have us on their cover:
IDEAS TO CHANGE EVERYTHING
SCOTLAND, LAND OF DESIGN AND CREATION
This 8 page feature is bursting with colour bringing the best of contemporary design in Scotland to a French readership; it follows on from our critically acclaimed debut at the London Design Festival. Written by Jean-Christophe Camuset, the article opens with a discussion about Scotland’s ‘Celtic Energy’.
“What these eight creators, artists and architects have in common? Having found Glasgow and Edinburgh to be a land of freedom, a place to imagine, touch, have fun and flexibility. If this land of legends displays a surface area and a population comparable to Denmark, it does not (yet) benefit from the same aura in terms of design and decoration. However, the lines are changing under the impetus of a new generation of designers who are reinventing the codes of the house by relying on ingredients linked to the regional context."
“According to British curator Stacey Hunter, who unites these young creators within the Local Heroes association, Brexit (which a majority of Scots opposed) and the independence movement played a major role. Local talent no longer goes into exile in London [...] with their rich architectural heritage, Edinburgh and Glasgow have become attractive cities for young designers and decorators from all over the world.”
Featuring @julibd_com @studio.walac @shwetamistrydesigns @rachelinor Charles Myatt @james_rigler@studiosambuckley @pavilionpavilion_ @localheroesdesign @stacey_hunter_edi
Merci beaucoup @elledecorationfr @yotse @owenohreally @amandine.b.t.z
@julibd_com PUSHES GLASS INTO THE FUTURE
After studying in New York and Glasgow, Costa Rican Juli Bolaños-Durman chose to open her studio in Scotland. “There is a welcoming culture in the designer community and a high level of craftsmanship… My role as artist is to understand the world I live in to create artefacts of my time.”
IDEAT French Design Magazine
Words by Maia Morgen
Dec 2021
Transaltion-
"Not far from the V&A, the Brompton District was interested in the "world according to". How will we live tomorrow? The Scottish collective Local Heroes, directed by @stacey_hunter_edi envisioned living spaces where fusion between personal bubble, workspace and green rest seemed definitively acted upon. In total, around fifteen designers presented more than 40 hybrid pieces to play hide and seek with our interior, like the concrete furniture of Studio Myatt McCallum or the plant-inspired luminaire by Urpflanze. Upcycling and recycling were also in the spotlight, with the lamps by Studio Walac x Juli Bolaños-Durman, made from broken glass. A sublime carpet by Sam Buckley, in collaboration with CC-tapis, also proposes to soften the world of tomorrow."
Interview for NEUES GLAS – NEW GLASS: art & architecture ~ Issue No. 4/2021
'THE SERENDIPITY OF FRAGMENTS'
Interview by: Emma Park
Photography by: Shannon Tofts, Jaro Mikos & Hydar Dewachi.
Juli Bolaños-Durman Studio
Photography by Jaro Mikos
Custom Lane. Edinburgh, UK.
2020
POWERFUL ORDINARY BONDS Series showcased at The National Glass Centre in Sunderland, UK ~
• NGC GLASS PRIZE Exhibition • Open Now!
16 October 2021 – 13 March 2022
NGC Glass Prize is a European glass prize delivered by the National Glass Centre which features the work of over 40 artists who work in Europe.
The selected artworks on display were selected by a panel of judges including Sandra Blach, from Glasmuseet Ebeltoft, Reino Liefkes, from the Victoria and Albert Museum and Julia Stephenson from National Glass Centre.
Supported by the Weston Culture Fund, the exhibition includes work by artists from England, Scotland, Wales, France, Sweden, Germany, Norway, Denmark, Poland, Italy, Romania, The Netherlands, The Czech Republic, Estonia and Belgium. It showcases techniques and approaches including using found and mixed media, casting, hot glass, kiln forming, engraving, neon, pâte de verre, and video. The exhibition includes artists working at all career stages from internationally acknowledged masters to relative newcomers.
Elle Decoration UK
CRAFTING THE FUTURE feature
NEW CRAFTS ON THE BLOCK
~Six More Makers Forging the Future of Craft Via Innovative Materials and Processes~
Words by Kate Worthington
October Issue 2021
Pictured: POWERFUL ORDINARY BONDS Series developed during Dutch Invertuals Academy 2020 | TRUE MATTER THEME (Project developed during Lock-Down)
⠀
Photographed by Jaro Mikos
Jewellery by Roisin Connolly Jewellery
Feature Architectural Digest México
Words: Karine Monié.
May 2021 Issue
Highlights from Collect Craft Fair’s online debut with Artsy l
Craft has made an unexpected digital transition in the past year – and this could be its greatest moment.
Victoria Woodcock FEBRUARY 20 2021
Glass Art Society Journal | Interview
• MATERIAL MADE OVER •
In November 2020 I was interviewed by David Schnuckel (@davidschnuckel) for #GASnews Fall Issue
'From her point of view, everything is useful. Especially that which was abandoned… and the human desire to matter- to feel like we belong, to be seen as having value- it is the anthropomorphic lens in which she looks at these glass foundlings through, prompting a making practice that is as provoked by compassion as it is distinguished by uplifting whimsy.'
Glass Art Society, USA
glassart.org
Pictured On The Cover: WILD FLOWERS by Juli Bolaños-Durman & @JorumStudio, 2019. Photography: Shannon Tofts (@shannontofts) Gabriela Silveira (@gabisilveira) & Jaro Mikos (@co_jaro).
The Hot List 2020 issue - 'The Respun Artisan Throwdown Ceramics vs. Glass: The Ones To Watch'
by Emma Love
@condenasttraveller: 'Materials matter for inventive Costa-Rica born, Edinburgh-based artist Juli Bolaños-Durman who transforms recycled and hand-blown glass into jewel-toned ornamental vessels'
Pictured: Wild Flower Collection in Collaboration with Jorum Studio (@jorumstudio) and beautifully photographed by Gabriela Silveira (@gabiesilveira)
En conversación con Alvaro Cedeño, Costa Rica.
Optimismo + Toma de Decisiones + Creatividad
INTERVIEW BY María Eugenia Diaz de Vivar
Objetos con Vidrio. Argentina.
Jan 2019
ART GLASS OBJECTS is the first Spanish-speaking platform promoting international artists, curators, educators using glass as a medium. It was founded by María Eugenia Diaz de Vivar and she has tirelessly promoted new ideas with an emphasis on opening dialogue and supporting talent worldwide.
Panorama Magazine from Ukraine's International Airlines (@fly_uia) ✨ March 2020
Great to see photos printed of my different projects over the last couple of years; brought to life with the collaboration of and captured by all these brilliant photographers: Shannon Tofts, Gabriela Silveira, Laura Meek, Vivian Sarky, Jorum Studio, Gras Architects and Custom Lane.
#julibolañosdurmanstudio #storiesofglass #secondchances
#sustinability #glass #sustainability #perfumebottles
ENCANTO MANUAL
La diferenciación es la norma. Por eso, originalidad y saber hacer artesano se combinan para crear piezas especiales.
Texto: Ana Fernández Abad
INTERVIEW BY María Eugenia Diaz de Vivar
Objetos con Vidrio. Argentina.
5 JUNE 2014
ART GLASS OBJECTS is the first Spanish-speaking platform promoting international artists, curators, educators using glass as a medium. It was founded by María Eugenia Diaz de Vivar and she has tirelessly promoted new ideas with an emphasis on opening dialogue and supporting talent worldwide.
TWO DEGREES
is published by Shaw Contract
Design and Production: Hoffman Creative
Editor: Sabine Rothman
Contributing Editors: Kate Arora, Oriana Reich
For additional content: shawcontract.com/twodegrees
INTRODUCING TWO DEGREES
We’re on a mission to make a Smarter Impact for people and planet. Two Degrees is a collective of stories from people who share that mission.
WHY THE NAME?
The countries who signed the Paris Climate Agreement in December 2015 resolved to work toward keeping the earth’s temperature from rising two degrees celsius above pre-industrial levels, a threshold at which we risk increasingly significant, irreversible climate catastrophes. Drastically reducing our carbon footprint can help meet this goal and combat climate change.
At Shaw Contract, we realize that everything is connected. We’re conscious of how our actions impact our communities and the planet — and how we are linked to each other by a matter of degrees. Our journal’s name refers to this crucial limit and this inextricable relationship.
showcases craft pieces by seven artisans
MAKE HAUSER & WIRTH SOMERSET
BY: Jennifer Hahn | 2 November 2019
Photography: Shannon Tofts & Emma Lewis
Scotland's First Minister prioritises design with rotating exhibition
Photography Shannon Tofts
2 April 2019
Episode 390
30 minutes
WHY CRAFTS MATTERS
The intersection of craft and utility at the inaugural Harewood House biennial and the opening of retailer Galeries Lafayette’s latest space in Paris.
Useful/Beautiful exhibition at Yorkshire stately home asks if craft is still relevant today
https://www.dezeen.com/2019/03/27/useful-beautiful-exhibition-harewood-house-craft-design/#/
by Ali Morris
Photography Jonty Wilde
'El modelo actual de consumismo no es sostenible. Yo quiero usar materiales de deshecho y transformarlos en algo precioso que cuente una historia nueva'.
Por: Ana Eugenia Rodríguez
@anushki_rodri
We speak to Glass Artist and Hothouse17 Maker Juli Bolaños-Durman
Juli is an emerging Latin American Designer with a background in Graphic Design, she pairs this with mixed media and a recent immersion into glass to create vibrant, characterful vessels.
Juli has been selected for Hothouse, the Crafts Council's Talent Development Programme for emerging makers. Find out more about Hothouse
March 2017
The cut glass assemblages of graphic-turned-3D designer Juli Bolaños-Durman. Words by Jenny Brewer, Tuesday 17 January 2017
Jun 26, 2017
Marcin Rusak, Juli Bolaños-Durman, Laura Youngson Coll, Jessica Harrison and Sam Bakewell unveil new work made with support from the Jerwood Makers Open.
With a background in graphic design and mixed media, designer Juli Bolanos-Durman’s approach to research and the creative process of design is multifaceted. Her practice includes repurposing found objects and transforming them into precious artefacts that tell a story.
The intent of this workshop is to tackle ideas and development rather than construction of a final piece. A different approach to the creation of new ideas will be taken by using the ‘Quick Project’ method further developed by Juli after taking a masterclass in 2012 with mixed media artist Michiko Miyake. By allowing the mind to access the creative process without judgment, pressure reduces and the idea of play provokes the creation of new ideas.
Pictured: 'Animalitos' Collection 2009
Photo: Agustín Fallas 2010
Five new commissions by early-career applied artists Sam Bakewell, Marcin Rusak, Laura Youngson Coll, Juli Bolaños-Durman and Jessica Harrison brought about through the biennial Jerwood Makers Open. Each combines a high level of technical skill with imagination and intellectual adventure, constituting a fresh and exciting direction of each artist’s work.
Design Miami Dec 2016
‘'…The New Craftsmen and Crafts Council UK co-curated the installation with architect and interior designer Natalia Miyar, who was raised in Miami and runs her transatlantic atelier from there and London. Works were selected to "resonate with the Miami landscape".
Photography: Jessica Glynn
Report London Design Festival 2016
MADE IN LONDON, by Grant Gibson
Craft was hard to avoid at this year's London Design Festival, 17-25 September.
Cog Design created the promotional material for this year’s international art fair Collect, presented by the Crafts Council. The fair sells contemporary craft in 35 galleries across the world, and comes to the Saatchi Gallery, London 8-11 May.
‘Sandia’ from the Solace Collection
Juli Bolanos-Durman, 2014.
Photo by Shannon Tofts.
Represented at Collect 2015 by Joanna Bird.
'The former Graphic Designer, who studied a Masters in Fine Art Glass at Edinburgh College of Art, has gained a reputation for giving a precious quality to discarded glass...'
London, UK.
PRECIOUS & PLAYFUL
'How do we, as designers and artists, repurpose found materials that people are about to discard?'
www.reclaimmagazine.co.uk
Photogrpahy: Shannon Tofts
WINNER BEST ECO DESIGN CATEGORY
Words: Katie Treggiden
Photography: Suki Dhanda
'Blurring the line between art and ecological design, Bolaños-Durman's recycled glass vessels really caught our eye. .."I enjoy reusing materials. It is a personal challenge to see the potential in ordinary objects"...'
London, UK.
BRITISH GLASS BIENNALE 2015
A V&A and Crafts Council exhibition, 25 April – 27 September, 2015
By: Keith Cummings
THIS exhibition is the sixth British Glass Biennale to be held in Stourbridge at the Ruskin Mill Glass centre. During its 10-year existence it has established itself as the premier show- case for individual studio glass, produced by artists who are currently resident in the British Isles. All the exhibits are jury selected from an open application, and organised into artist and student categories, both of whom compete for a range of different awards and prizes, of which there is a total of eight, all of them in the gift of a variety of donors, including the Worshipful Company of Glass sellers award, the London Glass- blowers award for emerging talent, and the National Glass Centre’s emerging artist residency. This is in addition to the Biennale Best in Show Award. 1
An analysis of the exhibitors shows some interesting trends: the 74 exhibitors, 45 female to 19 male, are divided into 61 established makers and 13 students, 19 of whom list their country of origin from outside the British Isles, from a total of 17 different countries. This reflects two things; firstly, despite recent cuts, the importance of Britain as a continuing centre of glass making and education, and secondly the global nature of the studio glass movement. In the European Coburg Glaspreis exhibition in 2014, of the 150 exhibitors 40 were from Britain, by far the largest contingent.
The Biennale exhibition continues for four weeks, and shares its first week with the International FeStival of Glass which comprises a variety of activities centred on the Ruskin Mill and Stourbridge locale. These include Master classes in
a range of glass skills, led by truly international practitioners, which this year included Dante Marioni, Cappy Thompson, Penny Rakov and Michael Brennand-Wood. Local venues included Broadfield House Glass Museum, which hosted an exhibition of contemporary Hungarian Glass, and the nearby University of Wolverhampton, that houses one of the Britain’s major undergraduate and postgraduate glass departments.
The curator and individual jury members vary with each Biennale, and clearly its make-up effects the criteria used in the selection pro- cess, and the final make up of the show; in this case perhaps resulting in the selection of a greater number of sculptural pieces than in past Biennale exhibitions.
As an exhibition devoted exclusively to artefacts made from glass this show shares many characteristics with similar evens worldwide. The material unites a range of object types and individual approaches that do not necessarily have much else in common. Decorative and domestic-scale artefacts rub shoulders with large sculptural ones, examples of series production with unique, highly personal statements. This is also true of technique and scale, from tiny pâte-de-verre ves- sels to large-scale assemblages that which fill large areas, and involve light, movement and animation. The catalogue makes no attempt to reflect this, nor to group similar exhibits into categories, preferring the simplicity of alphabetical order. Care has to be taken, when looking at the catalogue images to keep in mind the huge disparities in scale between exhibits.
In his recent book Keeping an Eye Open, Julian Barnes talks of art as ‘a hub airport with multiple destinations’, this, for me, describes this exhibition, which is also typical of others of its kind. This makes it very difficult to apply a coherent set of criteria on the judgement of diverse exhibits, and one has to follow each object to its destination to do this. It’s always dangerous, in my opinion, when the material is allowed to come between the object and its true category. The question arises, for example, of whether a glass sculpture could hold its own in a show of mainline sculpture, or whether it exists in a separate category, protected by the novelty of its material. It can, and is often argued that this is just a matter of semantics and is therefore irrelevant to judgement of quality. I would counter that category does matter because it is this that determines and describes the maker’s intention, and crucially, ultimately indicates the criteria by which it should be judged. Artists were asked, when submitting their entries, to indicate where their works fitted ie. Sculpture, Decorative Art or Design. In this show there are examples of the maker moving from the mate- rial into a different category, often sculpture, and others moving in the other direction.
The Biennale exhibition contains the usual full gamut of expressive glass products. Apart from the mate- rial itself and the characteristics of the main forming methods, a more or less universal characteristic is the individual pursuit of creative expression. This includes works of a personal nature, that often possess a universal characteristic of expressive glass globally. There is sometimes a clash between novelty and true significance, where the fragility of glass paradoxically ensures its survival.
This particular approach has long roots, like the famous Syrian enamelled beaker The Luck of Edenhall, brought back from the crusades and becoming a family talisman; such items surviving because, rather than despite their unique and fragile nature. The theme of the container or vessel featured in many works and
I was reminded of the way in which writers in fascist regimes buried their works in glass containers to ensure their survival. In Katya Izabel Filmus’ piece the quality of glass, and the way it is utilised is entirely appropriate, and the result is a con- vincing and powerful work.
With the artist striving for an easily recognisable visual identity through an original approach to the mate- rial, Ashbee’s famous statement: ‘Art that is one person deep is too thin to survive’ comes to mind. While an ostentatious break with all tradition appears, on the surface, to be a requisite for originality it can finish up at the dead end of Ashbee’s warning; and the best works here don’t turn their backs on the past completely.
The range of forming methods on display varies enormously both in technically terms and it the application of the individual skills. Water- jet cutting and computer generated imagery sit next to the more traditional techniques of blowing, cutting and kiln-forming.
I began my involvement with glass over 50 years ago, and have therefore witnessed the whole development of the studio glass movement. From the naive experiments of the early sixties, glass has greatly expanded in scope and ambition. This exhibition contains some approaches and ideas which are both original and well used, particularly in the work of the recent graduates and students, which clearly indicates that movement is far from running out of creative steam.
![S MAR 259 PLA Muebles artesanos-C[2].jpg](https://images.squarespace-cdn.com/content/v1/54aee6d9e4b0c7e385c11104/1583147893968-V8HCFKMZZYO68ITLVQ5Z/S+MAR+259+PLA+Muebles+artesanos-C%5B2%5D.jpg)
