Contribution nr. 10 by Siri Haaskjold

Contribution nr. 9 by Inguna Audere

Contribution nr. 8 by Julie Alland

Julie Alland is a sculptor who lives in San Francisco, California. Raised in New York State, she earned a BFA from Antioch University in Ohio, specializing in photography. After moving to San Fracisco in 1985 Alland became fascinated with found objects, qne although she'd had little formal training in sculpture, her interest turned to working in three dimensions.

Alland is represented by Don Soker Contemporary Art in San Francisco. Her artwork is included in numerous private collections and has been exhibited at the Yerba Buena center for the Arts, the San Fracisco Airport Museum, Santa Cruz Museum of Art & History and many other venues. Julie was nominated fro SFMOMA SECA Award in 2003 and received a Corning Award in 2006

Contribution nr. 7 by Jerry l. Kung

Jerry writes: THe most spectacular thing about glass is it's transparency. It's subtleties are so often taken for granted. Perhaps it takes years being with a material before the details reveal itslef. Perhaps, life is in the details... perhaps the devil is in the details. I love seeing the marks of hand made objects. The shadows reveal the tooling, the fingerprints, the human quality of the maker. The light acts as the breath that fuels the vision, the idea, and the glass manifests the reality of thought.

I've been exploring the hidden marks of light for the past few years and i'm glad these little shadow pockets have been getting closer and closer to the drawings of circles and links that occupy my sketches and thoughts.

Contribution nr. 6 by Beate Einen

See more of Beate Einens work here:

http://www.beateeinenglass.no

Contribution nr. 5 by Pernille Braun

Pernille writes: her har i mit bud... en test fra værket "Chandelier".

"Chandeliers" stammer fra en steds specifik udstilling i Leigthon House Museum i London i 2007. Hvad der i dag er et museum, var i sin tid private bolig for den engelske victorianske billedkunstner Frederic Leighton (1830-1896).

Oplevelsen af hvad der plejede at være et privat hjem i en museums kontekst, efterlader en intimiderende stilhed samt tiden som en konstant faktor, der forsøges stoppet og konserveret. Som en samler of kunsthåndverk, havde Sir Leighton en Murano lysekrone hængende i sit hjem. Dette ikon af håndværks historie som til dags dato forsat bliver reproduceret står som billedet på mit projekt: En lysekrone tæt på at gå i opløsning, tynget af sin egen og sine omgivelsers historie...

More of Pernilles work can be seen here:http://www.pernillebraun.com