Five Minutes with... Drew Spangenberg
Drew Spangenberg, Casablanca Bottle III; The Tennessee Canister I; Graceland Teapot I; Casablanca Bottle I; Casablanca Bottle II, 2022. Photo: Pippy Mount.
Drew Spangenberg’s practice incorporates traditional glass blowing techniques focusing on composition, clean lines, complimentary forms and colour, with a strong influence from his musical background. We spend five minutes getting to know Drew and the creative process behind his exhibition Departure to Graceland.
Tell us a bit about your background, how did you get started in glass blowing?
Originally from Whyalla, I wanted to study either music or photography but as I was only interested in the practical side of music and very disinterested in its theoretical side it pushed me to study photography at UniSA as a part of their visual arts program. As part of foundation studies we spent time in each discipline. From the word go I was intrigued by glass. So I took all the electives, and by the time I was set to choose my specialisation I was addicted. My interest in photography as a result dwindled and I spent all the time I could jumping on any unused glass blowing bench in the UniSA hotshop.
What is it that keeps you interested in glass as a form of expression?
Glass in itself is a very seductive thing. It’s mesmerising in its liquid state and the process of trying to control this viscous thing is addictive. And when you finally to get a grasp on how the material moves and behaves, it surprises you. Learning to blow glass is consistently the hardest, most rewarding, and most humbling thing I’ve ever done.
The other side to this is the environment in which we work as glassblowers, its very social and dependent on others. I enjoy the teamwork side of the process, the common goal mentality, and the satisfaction that comes with working cognitively as a team in such a challenging medium.
Drew at work in the Glass Studio. Photo: James Walsh.
“Learning to blow glass is consistently the hardest, most rewarding, and most humbling thing I’ve ever done.”
Drew Spangenberg, Nefertiti Bottle series, 2022. Photo: Pippy Mount
Departure to Graceland is your first solo exhibition at JamFactory, what do you hope the audience takes away from your works?
I want this body of work to excite people with its loud and considered colour pallet. I want the works to have a sense of balance in form, composition and colour. Each piece giving the next one context, one large composition made up of many small ones. I want people to see the beauty in function, in my use of typically functional vessels as elements of a compositional art work.
Can you tell us a bit about how you chose the title ‘Departure to Graceland’ and the inspiration behind the work?
Departure To Graceland is what I titled an ArtsSA grant proposal at the start of the COVID-19 lockdowns in 2020. During lockdown I wanted to develop the bones to a body of work inspired by the forms, colours and notions of the Memphis design group of the 1980s. I came to the title whist listening to the Paul Simon record of the same decade ‘Graceland’. Graceland in Memphis Tennessee seemed like a fitting tie for me at the time between musical composition and the work of the Milan based furniture and object designers. It was seemingly poetic knowing the naming of the Memphis design group originated in listening to a Bob Dylan song. When the opportunity for this show arose it seemed fitting to use the same title as my work reflects and stems from that time of drawing in lockdown.
As an Alumni of JamFactory and the current Associate Development Manager of the Glass Studio, how has JamFactory shaped your creative practice?
JamFactory with out doubt has been essential to the growth of my practice. Firstly in training me. To have 2 solid years of relentless glass blowing is certainly not something to take for granted. Secondly through the opportunities to exhibit and sell work through galleries and retail platforms. Then there’s the glass community which is diverse and rich with knowledge. There are so many people to draw and learn from. The constant buzz in there is pretty inspiring creatively. My time as associate development manager has I think helped diversify my practice. I enjoy the balance of working with the associates whilst maintaining a production and art based practice as well as assisting other artists in the glass community.
“There’s the glass community which is diverse and rich with knowledge. There are so many people to draw and learn from. The constant buzz in there is pretty inspiring creatively. ”
Photo: Pippy Mount
Drew Spangenberg
Contemporary glass artist Drew Spangenberg completed a Bachelor of Visual Arts (Glass) at the University of South Australia (2012). During this time Drew took part in workshops by internationally acclaimed artists Brian Corr and Lino Tagliapietra, held at JamFactory and the Canberra Glassworks. Spangenberg was a teaching assistant for renowned glass artist and UniSA educator Gabriella Bisetto before undertaking the Associate Training Program at JamFactory's Glass Studio (2014–2015). Here he continues his glass blowing practice and is currently its Associate Development Manager. Spangenberg was the recipient of the Australian Design Institute Glass Award (2014). He was a finalist for the FUSE Glass Prize (2022) and the Klaus Moje Glass Award (2019).
Drew Spangenberg: Departure to Graceland is exhibiting in Gallery Two at JamFactory Adelaide until 18 September 2022.