We’re thrilled to introduce five new rugs designed by Dale Chihuly and
meticulously translated from glass to rug form. The collection represents the
work and dedication of master artists and craftsmen, starting with Chihuly’s team
of glassblowers in Seattle and finishing with our master weavers in Kathmandu,
Nepal.
With a mutual admiration for each other’s craft, we sat down with Chihuly to
discuss craftsmanship, inspiration, his Seattle-based studio and his five new rug
designs.
When did you first realize you wanted to be a glass artist and why glass?
After graduating from the University of Washington, I worked as a designer
at an architectural firm in Seattle, and during that time, I was able to continue
experimenting with materials and exploring my creative interests in a studio I had
built in my basement. I felt an impulse to melt broken pieces of stained glass to
see if I could manipulate the material. Using a regular metal pipe from a hardware
store, I blew my first glass bubble and was immediately hooked. Controlling
and manipulating glass with fire and breath creates an energy that was—and
continues to be—irresistible to me.
What was your first project?
My first projects with glass began while I was studying interior design and
architecture at the University of Washington in 1963. I was weaving shards of
glass into tapestries and the added dimension and interest it brought to the
work was striking. I was beginning to understand the power and beauty of light
passing through glass.
Do you have a favourite project or installation?
Because I work with so many materials and have the help of a talented team of
artists in my studio, I’ve been able to pursue projects that seem nearly impossible
to achieve. Two such projects which resonated deeply with people are Chihuly
Over Venice (1996) and Chihuly in the Light of Jerusalem 2000. In both cases, I
pushed myself and my team to expand the scale of the work and to be ambitious
in its placement. Through these projects we also got to work with glass artists
in countries around the world including Finland, Ireland, Mexico, Israel, and Italy.
Spending time with other artists has been critical to my creative energy and
exploration.
“The relationship between form
and space is critical, and to me,
light is the most important element
in revealing beautiful design.”
Harvest by Dale Chihuly. Handknotted Tibetan wool. Price band 7.
How did you set up your studio?
My studio has evolved over time. I used to work primarily out of The Boathouse
on Lake Union in Seattle, and as the scope and scale of my projects expanded
and as we had more requests for commissioned work, I needed more space.
Today, glassblowing happens in The Boathouse, and I have another studio where
I paint, and where my team has space to build large installations at full scale.
Where do your ideas come from and where do you find inspiration?
I find inspiration all around me – in beautiful books, in films, in the changing of
seasons in Seattle. The Pacific Northwest offers amazing geography, from the
mountains and forests, to the waterways, and the mix of modern and classic
architecture. I also take inspiration from artists that have come before me, such
as Warhol and Vincent van Gogh.
What does good design mean to you? Is quality craftsmanship essential?
Good design can be both functional and surprising, something that delivers an
unexpected experience. The relationship between form and space is critical, and
to me, light is the most important element in revealing beautiful design. Excellent
craftsmanship is key to the success of any design project.
Do you have a design mantra?
I believe in taking risks and pushing boundaries... doing something that’s never
been done before. This might involve the choice of materials, colors, scale, or the
placement of a particular object within a space. I’m always thinking of my work in
relationship to the given environment.
“Working with transparent
materials and utilizing the power
of light is so instrumental to my
work that I was really surprised to
see how The Rug Company was
able to translate translucency in
an opaque product.”
Poplar by Dale Chihuly. Handknotted Tibetan wool and silk. Price band 12.
Tell us about your new designs for The Rug Company.
I am so pleased with the five rug designs which are derived from my series in
glass, including Persians, Cylinders, and Macchia. If you’re familiar with my work,
you’ll notice the organic, irregular forms that people have come to know in the
Rosette and Poplar rugs, as well as finer details, such as the glass thread pickup
designs featured in the Cylinder and Harvest rugs.
What made you want to work with The Rug Company?
The Rug Company has a brilliant reputation in the world of interior design. The
craftsmanship is outstanding. Since my college days weaving textiles, I have long
appreciated the talent involved in creating objects with such lasting beauty and
functionality. I have a personal collection of Native American trade blankets and
have my own line of Pendleton blankets. Taking this step into the world of rugs is
a natural, and I have enjoyed working with the team at The Rug Company.
What surprised you about the translation of your designs into rugs?
Working with transparent materials and utilising the power of light is so
instrumental to my work that I was really surprised to see how The Rug Company
was able to translate translucency in an opaque product.
All images ©Chihuly Studio Photography
