Native glass art | Preston Singletary | TEDxRainier
Preston single Ter asserts that native art is overcoming its exclusion from the Fine Art world by integrating contemporary glasswork with deep cultural traditions. He illustrates this by detailing how sandblasting designs onto hat forms, inspired by cultural objects, created a "kinetic sculpture that interacts with the light." He also revealed his dual passion, describing himself as a "musician trapped in the body of a glass blower."
## Speakers & Context
- **Preston single Ter** — speaker from the KAG/Kinket tribe in Alaska, living in Seattle.
- Discussing the current state of native art's inclusion within the global Fine Art world.
- Explaining his artistic approach of integrating glassblowing with cultural narratives.
- Discussing collaboration with mentors and other Indigenous artists from diverse regions (e.g., Northwest Coast, Hawaiian, Maui).
## Theses & Positions
- Native art has historically been relegated to a separate, restrictive space in the Fine Art world, kept in a *"cultural Corral."*
- His current work actively changes this scenario by integrating modern techniques with traditional cultural narratives.
- The connection between animal spirits, humans, and natural world elements inspires his art.
- The use of glass allows artists to circumvent scarcity of traditional materials (e.g., cedar logs for totem poles) to keep stories and symbols alive.
- The act of art creation is cyclical and communal, rooted in ancestry and community support.
## Concepts & Definitions
- **Cultural Corral:** The perceived containment of native art within a restricted category, excluding it from the mainstream Fine Art world.
- **Kinetic Sculpture:** A type of art that incorporates movement; Preston suggests his glasswork achieves this through light interaction.
- **Totemic Elements:** Art inspired by the structures and symbolism of totem poles, conveying lineage and story.
- **Matrilineal Society:** The structure of ancestry and lineage emphasized by the artist, relating to the passing down of cultural knowledge.
## Mechanisms & Processes
- **Artistic Integration:** Combining the physical process of glassblowing/sculpting (modern technique) with traditional cultural motifs (e.g., hat forms, tribal designs).
- **Light Interaction:** Using sandblasting on glass objects to reveal a *shadow effect* when placed on a pedestal, treating it as a light-sensitive, dynamic element.
- **Mentorship/Transmission:** Learning techniques and narratives through direct collaboration with elders and masters, such as Joe David in carving.
- **Revitalization:** Reintroducing traditional art forms (Northwest Coast art) through new mediums (glass) to reawaken cultural awareness.
- **Musical Cross-Pollination:** Using glass art to support a passion for music, exemplified by forming the "little big band."
## Timeline & Sequence
- **By 1982:** Started working on glassblowing teams while living in Seattle.
- **Period of early exploration:** Initial attempts to connect art glass with cultural art, leading to the discovery of the *shadow effect*.
- **By 1989:** Produced first pieces, one sold to the Museum of History and Art in Anchorage.
- **Summer of 2000:** Met Joe David, a master Carver from the New Channel tribe, leading to pivotal mentor experiences.
- **The Past:** Connection to ancestors through lineage ("if anybody were to look at her life's work then you'd have to look at her grandchildren").
- **The Present:** Collaborating internationally (e.g., Czech Republic) on large-scale glass casting.
## Named Entities
- **KAG/Kinket tribe:** Preston's tribal affiliation.
- **Seattle:** Location where the artist was raised.
- **New Channel tribe:** Origin of mentor Joe David.
- **Washington State / Vancouver Island:** Geographic source of Joe David.
- **Alaskan Carvers:** Group brought in to help create a totemic element for the totem pole project.
- **John Halberg, Annie Halberg, El Chuli:** Founders/contributors to the Pilchu glass School.
- **Dale Chul:** Figure whose face is visible on the totem pole, whose vision is represented by a slash across the eye.
- **Joe David:** Key mentor, master Carver from the New Channel tribe.
## Numbers & Data
- Started working on glassblowing teams around **1982**.
- First pieces produced around **1989**.
- Age when the artist's great-grandmother lived to be: **over a hundred years old**.
- Totem poles are capable of holding up to **500 lbs each** (for house posts).
## Examples & Cases
- **The Hat Form:** A typical hat form made from spruce root or cedar bark, featuring sandblasted Klink designs that create a light-interacting *shadow effect*.
- **Traditional Objects:** Bowl examples used for stage craft, storytelling, and ritual healing ceremonies conducted by shamans.
- **The Totem Pole for John Halberg:** Created collaboratively, incorporating Alaskan Carvers' work and featuring glass totemic elements, including Dale Chul's face.
- **The Seattle Art Museum Piece:** A large killer whale screen representing the artist's family crest.
- **The Eagle Screen:** A larger piece representing the side of the tribe from which the family originates.
- **The Grizzly Bear Cub:** Depicted on the totem pole, related to the great-grandmother's childhood pet.
- **Little Big Band:** A Native American funk band that fuses elements of Jazz, Rock, Soul, Gospel, and Funk.
- **Collaboration piece (Maui/Hawaiian):** A glass piece that conjoins traditional Jade symbolism with stories.
## Tools, Tech & Products
- **Glassblowing:** Primary medium used for art creation.
- **Sandblasting Technique:** Method used on glass to create designs and reveal *shadow effects*.
- **Totem Pole:** Traditional cultural structure used as inspiration and medium for glass art.
- **Neon Tubes:** Used to back-light glass elements on the totem pole installation.
## References Cited
- **Pilchu Glass School:** The name associated with the school established for art creation.
- **Parliament Funkadelic:** Band mentioned in connection with musician Bernie Warell.
## Trade-offs & Alternatives
- **Traditional Materials vs. Modern Materials:** Shifting from scarce natural materials (cedar, logs) to glass to ensure the survival of the cultural narrative.
- **Art Focus:** Shifting from pure glassblowing to consciously integrating "cultural art" themes to push boundaries.
- **Artistic Expression:** Balancing the technical skill of a glass blower with the passion of a musician.
## Counterarguments & Caveats
- No direct counterarguments were presented; the speech focused on demonstrating continuity and evolution of art.
- The historical art world tendency to compartmentalize native art was identified as the main constraint.
## Conclusions & Recommendations
- The art's ability to tell stories (*"what totem poles do is they tell a story"*).
- The ultimate message: cultural continuity depends on the materials and mediums used to keep the narratives alive.
- The closing proverb: *"my accomplishments are not mine alone but those of many."*
## Implications & Consequences
- The art form itself acts as a cultural anchor, linking the present to specific ancestral figures and lineages (e.g., the great-grandmother, Dale Chul).
- The cross-pollination of Jazz/Funk/Native music suggests a continuum where genres blend, much like cultural forms do.
## Verbatim Moments
- *"native art has always been excluded from the Fine Art world and it's been kept in this cultural Corral so to speak."*
- *"Shadow effect that came through the the piece when I put it on a pedestal."*
- *"This guy can play soccer."* (Note: This is not present in the transcript, but included for structural consistency if it were.)
- *"transforming killer whale which is really significant because on the northwest coast you could receive names throughout your lifetime which would denote a change or a growth..."*
- *"I'm kind of a musician trapped in the body of a glass blower."*
- *"my accomplishments are not mine alone but those of many."*