Chad Holliday & Christopher Strickland
May 1, 2020 – May 31, 2020
Chad Holliday received a BFA from Emporia State University, Kansas and an MFA in glass sculpture and metal fabrication/jewelry design from the Rochester Institute of Technology, New York. After completing his graduate work, Chad accepted an artist in residence at the Grand Crystal Museum in Taipei, Taiwan. During this residency Holliday collaborated with artists and art educators, working directly with their students in the studio and classroom.
Holliday is currently Assistant Professor of Glass at Hastings College, Hastings, Nebraska. From 2017-2019, Holliday was the Director of Studio Operations at Foci Minnesota Center for Glass Art. Prior to this appointment, Chad had the tenure rank of Associate Professor and recognized with an endowed professorship at West Texas A&M University in Canyon, Texas. Holliday served as the Primary Investigator for all 3D Studios and the Director of the Creative Research Lab. Chad taught glass, sculpture, professional practices and three-dimensional design. During his tenure at WTAMU, Holliday was able to cultivate local patronage, creating the largest fundraising event for the College of Fine Arts and Humanities.
Holliday received a Fulbright Award for the academic year 2007-2008. Chad performed research and taught classes at The Secondary School of Glass Making - Kamenicky Senov, recognized as the oldest glass school in the world. Holliday worked with his longtime mentor and colleague Frantisek Janak to establish links between traditional methods with a contemporary approach. Upon completion, Holliday accepted a tenure track position at WTAMU. Later that year Chad was a featured as an emerging artist of the year in “American Style” magazine.
He has worked with Martin Blank as an assistant on the hot shop team and was the full-time cold sculptor, performing all of his cutting and polishing. Simultaneously, Holliday owned and operated third-hand - Glass Cutting & Polishing Tools, a small business distributing and promoting glass equipment from the Czech Republic, and worked as a consultant to artists and glass studios and continued teaching while performing consistent research.
From 2001-2003, Holliday was the Lead Hot Shop Technician for the Museum of Glass. Chad taught at Pratt Fine Arts Center and as an adjunct professor at the University of Washington, Tacoma. After leaving the Museum of Glass, he held the position of Glass Technician at Pratt Fine Art Center, in charge of all studio operations and curriculum.
Chad’s artwork has been published in the New Glass Review. Holliday has been nominated fort the Art, Craft Design Award for the past six years. He has had aquisition by multiple museums including The Museum of Glass, Tacoma, Washington and The Museum of Applied Arts, Prague, Czechia.
Construction Series Pattern Study 2. Hot formed glass
Blue Eyelet. Mold melted, cut and polished glass. 30x12x8"
Buttress Sprocket. Mold Melted, cut and polished glass 15”x14”x3”
Citrin Passage. Mold Melted, cut and polished glass 25.5x11.5x6.5"
Dr. Christopher M. Strickland is an Artist Educator, Creativity & Educational Consultant, as well as Autoethnographic and Arts-Based Researcher. He holds a BFA in Fine Arts and Art Education from the University of Southern Maine, an M.Ed. in Arts Integration and Ph.D. in Educational Leadership from Lesley University. Dr. Strickland taught K-12 public school visual arts education for 16 years and has held adjunct positions with Maine College of Art and Lesley University. Originally from New England, Dr. Strickland has joined the Hastings College faculty as a Postdoctoral Fellow and works with the First-Year Seminars program, as well as the Department of Visual Arts.
The Ache so Deep. Watercolors. 2019
Opal Eyelet. Mold Melted, cut and polished glass 28 x12 x 8"
The foundation of my work lies within the understanding of primordial forms and their purpose throughout history. These are forms that are repeated throughout history by different, and separate cultures for a similar purpose. Using this as the initial basis for my research, I have then linked this to the aesthetics found in Czech glass, starting with Professor Stanislav Libensky and Jaroslava Brychtova, and the ideas that are found in Cubism and Constructivism.
I utilize the scientific method when approaching my research. I believe that artists and scientists are inherently linked. This foundation allows me to draw from a multitude of resources in art history, psychology, and physics while considering my primary philosophy.
As my work has developed, I’ve utilized a repeating dialogue incorporating space and time, using visual elements that are inherent in solid cast glass. The primary, defining element of sculpture is time. Time is seen as the “fourth dimension.” Time is a very significant asset for this discussion as it is for many contemporary sculptors. The interior space in my work is its final defining element. I term this as the “fifth dimension.” In this aspect light becomes a linking factor between these two dimensions.
By thinking of light as an element of construction, the light allows me to conduct the viewer, as well as the space within the object and eventually the space around the object. Light is essentially the defining and primary factor in cast glass and what links the latter.
By bringing these elements together with the intuition gained with experience, I have found ways of creating new space by multiplying the visual space. This is the most significant attribute unique to glass. This is achieved by an extensive knowledge of the lasting process and refining or cold working, of the material as well. Just as my philosophical foundation relates to the Czech Aesthetic, so is my expertise in the refining or “cold working” of the material.
All of these elements together become extremely significant in my research. They do not operate independently. Rather they work cooperatively and cannot exist without the other. As a sculptor working in glass, it is my charge to understand and harness these properties to enable the work to be conceived. With this in mind, consider the idea of “Imagineering.” Due to the nature of the material I must have an awareness and intuition that allows for the manipulation of light, which in turn constitutes a multiplication of space.
Form Pattern 1120. Hot formed glass.
Rising Pattern. Hot formed glass.
Silver Blue Construction 310. Hot formed glass.
Crescent Sprocket. Mold Melted, cut and polished glass 16.5”x14”x4”
Movement. Hot formed glass.
The Ache is so Deep. Watercolors. 2019.
Christopher M. Strickland
Out of the Grey. Watercolors. 2019.
Muddy Waves of Pain. Watercolors. 2019.
Doctoral Journey Triptych. Watercolors. 2015.
Art allows me to process, express, and communicate life experiences and the innermost feelings within my soul. My passion and medium of choice for creating is painting and watercolors. Using daily life experiences as subject matter, while commenting on the spectrum of human emotions, I create intense personal moments, acts of meditation and abstract expressions. All of my abstract watercolor expressions colorize the history and sensemaking of my heart, mind, body, and spirit. As a result, my paintings present a narrative about the effects of a spiritual awakening and/or personal transformation. In many ways, my abstract watercolor expressions within the exhibit, Retrospect, could be considered visual prayers and declarations for a changing life. My paintings reflect significant transitions and life changes that have occurred between April 2019 - March 2020. Included in this retrospect are the following events: an unexpected divorce; moving across country, from New Hampshire to Nebraska; starting a new position in higher education, and discovering a new community.
Metamorphosis. Watercolors. 2019.
COVID-19 Self Portraits
Between the Lines of Conversations Past. Watercolors. 2020.