Cowan’s source material provides the foundation for the final work, and it is an important conceptual component. Most of her works begin as commercially produced whole or broken wares, made between the 1940s and the 1980s, that are picked up by Cowan at thrift shops and flea markets, or excavated from cullet dumps. These wares might include opaque milk glass tableware in the Colony Harvest pattern from the Indiana Glass Factory, or a flower vase from The Florists' Transworld Delivery Service (FTD). Cowan reheats and flameworks or hot sculpts the discarded glass—which she notes has been “abandoned to the dust bins of American design”—into tiny leaves, fruits, swans, roses and abstract spirals, bits and spikes.

“Amber takes this ubiquitous commercial glass and gives it a new, cool life, transforming it by destroying it and re-forming it into beautiful and evocatively retro sculptures,” said Tina Oldknow, the Museum’s senior curator of contemporary and modern glass. “Her work addresses contemporary concerns about the sustainability of object making, and I appreciate her fresh take on the potential of what she describes as ‘re-cycled, up-cycled, and second life’ glass.”

With formal training in art history and sculptural design—Cowan holds an MFA in Glass and Ceramics from the Tyler School of Art in Philadelphia and a BFA in 3-Dimensional Design from Maryland’s Salisbury University—she has developed an ongoing series that interprets her research on Early American industrial glass, including the Wheaton Glass Company and Boston & Sandwich Glass.

For the Rakow Commission, Cowan will continue her work using commercial glass cullet, sourced from a West Virginia business at $1 per pound, which she will then melt and draw into rods to be flameworked. Cowan’s palette tends to be minimal, and for the Rakow Commission, she will rework shards and chunks of cullet into an all-white flameworked and blown glass wall sculpture.
Cowan has taught alongside, and assisted, many well-known artists, including master flameworkers Paul Stankard, Gianni Toso, Lucio Bubacco and Emilio Santini. Cowan also taught glassblowing and flameworking at One Sixty Glass and UrbanGlass in Brooklyn. In 2012, she was awarded the international Stephen Procter Fellowship from The Australian National University in Canberra, ACT, Australia and the Steve Stormer Memorial Award from Temple University. Cowan was also one of the featured artists in The Toledo Workshop Revisited, 1962–2012, a documentary film produced by the Robert M. Minkoff Foundation.

In addition to her practice as an independent artist, Amber is an adjunct professor in the glass program at the Tyler School of Art. She is represented by Heller Gallery in New York City and her next solo show, Amber Cowan: Second Life Glass, will open at The Museum of Craft and Design in San Francisco this fall.

Inaugurated in 1986, the Rakow Commission is awarded annually to artists whose work is not yet represented in the Museum's collection. The commission supports new works of art in glass by encouraging emerging or established artists to venture into new areas that they might otherwise be unable to explore because of financial limitations. It is made possible through the generosity of the late Dr. and Mrs. Leonard S. Rakow, Fellows, friends, and benefactors of the Museum. Each commissioned work is added to the Museum’s permanent collection and is displayed publicly in the Museum’s Modern Glass Gallery.
 
About The Corning Museum of Glass
The Corning Museum of Glass is home to the world’s most important collection of glass, including the finest examples of glassmaking spanning 3,500 years. Live glassblowing demonstrations (offered at the Museum, on the road, and at sea on Celebrity Cruises) bring the material to life. Daily Make Your Own Glass experiences at the Museum enable visitors to create work in a state-of-the-art glassmaking studio. The campus in Corning includes a year-round glassmaking school, The Studio, and the Rakow Research Library, the world’s preeminent collection of materials on the art and history of glass. Located in the heart of the Finger Lakes Wine Country of New York State, the Museum is open daily, year-round. Kids and teens, 19 and under, receive free admission. www.cmog.org.

The Museum is currently adding a North Wing, designed by Thomas Phifer, which will open in late 2014. The 100,000-square-foot North Wing addition will include a new 26,000-square-foot contemporary art gallery building, as well as one of the world’s largest facilities for glassblowing demonstrations and live glass design