This weekâs feature is dedicated to Melbourne-based Jenie Yolland, an artist specialising in contemporary glass art, and also teaches hands-on classes that allow learners to explore the colourful world of glass art. Throughout the span of her career, Jenie has exhibited in many galleries across the states and overseas, but her exuberance for her craft is most evident within the walls of a classroom. Students enjoy Jenieâs presence as she shares her love and knowledge of glass art making while answering their questions and offering encouragement.
Learn more about Jenie in this interview, and if youâre keen to explore glass art yourself, book for her Absolute Beginners Lifeâs Colours Workshop and get 50% off her jewellery class. Hurry, because only the first ten people can grab this deal!
How did you first become interested in glass as a medium for your artwork? What was it with glass that appealed to you?
I was introduced to glass art by an elderly aunt who dabbled in it at home and caught the bug from Day One. That was 20+ years ago, and my enthusiasm has never dimmed! It is a unique art form, and I truly love it. Itâs not just how sensational the art looks, itâs also mastering the technical nature of the glass itself, and the many different ways to use heat to make it do different things. Itâs always a wonderful challenge!
Did you have formal education or were you self-taught?
A mixture. I started out experimenting in friendsâ kilns, then quickly progressed to buying my first kiln and creating a studio, in a glass factory, actually. They offered some courses which I took, and other people in the business did some teaching, too, which I eagerly attended. There is a wealth of kiln-forming literature produced by aficionados, which I also devoured avidly. And I still do. Nowadays, of course, the Internet is full of advice. Like I said, I got the bug!
What are the challenges and benefits that come with working with glass?
The challenges arenât just of design, itâs all about understanding what the glass will and wonât do in any given design. Glass is very stubborn: it wonât be made to do something that the physics wonât let it do. And not all glass goes with all other glass. Itâs fun, but itâs complicated.
How often do you experiment with new techniques?
I think you mean, âHow many times a day do you experiment with new techniques?â Itâs a never-ending journey of discovery. And failures outnumber successes 10-to-one. But thatâs half the fun! If only it was âonlyâ about design, but it never is!
What is your most treasured artwork?
Wow, thatâs a hard question. I really love the current âGirlsâ series of faces that I am creating, but they are very polarising. Some people love them and want to buy every one, some people canât stand them. All good art is polarising, I guess. I am very fond of my Barcelona Series, which was directly inspired by visiting that amazing city. But then again I also love the original clear glass 50cm X 50cm Christmas antipasto platters that I started making right at the start and used to sell at Warrandyte market. Honestly, I could answer this question for an hour â better to move on!
What made you decide to teach about this art form?
Itâs just too good â too much fun, too beautiful â to keep to myself. And anyone can âhave a goâ â itâs really not that hard to learn, even in a one-off course â and most people would never dream of working in glass, so I like surprising people with how accessible it is.
What is or has been the hardest or most challenging part of what you do, as well as in setting up your business?Â
Oh, thatâs an easy one. Getting galleries to take the work so people see it, and want to know more, or even buy it. Art is not the quickest way to get rich, let me tell you. And artists arenât salespeople by nature. So Iâve had to learn all about banging on doors. It still doesnât come easy!
What are the most interesting discoveries students make in your classes?
Unquestionably, the depth of their own creativity. Many people, maybe a majority of people, say âOh, Iâm not creative.â But most people really are. They just need a little shove. A little bit more self-confidence. Thatâs actually the most rewarding part of the teaching â seeing people blossom as they gradually âget itâ.
How can students build upon new skills they learned in your classes?
Well, I offer progressively more involved classes, so they can learn more and more as they go if theyâre interested. But there is absolutely no reason why someone cannot follow exactly the journey I have â catch the bug, invest in a kiln, experiment, learn and one day sell their art. Itâs one of the smaller areas of artistic endeavour â still plenty of room for everyone!
Do you have any advice for individuals interested in combining art and teaching, as you did?
Donât think you have to be âtrainedâ to teach. Just have a passion to share what you know, and a sense of humour. Remember people are nervous, so be welcoming and patient. Itâs hugely rewarding to see people learning something new.
Can you reveal any plans for upcoming workshops?
I am always adding new courses. My latest idea is to have people making bird sculptures. Why birds, you ask? Well, they just look great, created in glass, and itâs not too hard! Itâs a great âbeginnersâ class. And birds are all sorts of crazy colours, so it means people can go a little wild with the colours they play with. Iâd also like to hear from anyone who has a great idea of what we could all learn together! Itâs all about the collaboration, after all.
