Eiko Emori is an artist working in glass. She has a Master of Fine arts degree from Yale University, New Haven, USA,  has attended Académie Grand Chaumière in Paris, France, and has a National Diploma in Design from Central School of Arts & Crafts, London,  England.

Glass training

  • Shared studio at the Rideau Glass Studio, Manotick, Ontario. Mentored by the Studio principal, Alexander Hamilton.
  • Completed workshops at the Studio, Corning Museum of Glass, Corning, USA.
  • Trained in pâte de verre at Sanko glass factory, Tokyo, Japan.

Group exhibitions

  • As a member of AOE Arts Council, participated in “Selections”, art exhibitions at Shenkman Arts Centre, Ottawa, since 2010.
  • As a member of National Capital Network of Sculptors, participated in “Dimensions”, sculpture exhibitionsat St. Brigid Church, Ottawa, 2010 to 2013; and “Nature into Sculpture”, a sculpture exhibition at the Canadian Museum of Nature, Ottawa, 2012.
  • Display tables at the Boutique, Montreal Museums of Fine Arts, Montreal, 2013.
  • “The Last Glass Show”, exhibition of glass pieces and photographs, by Glass Art Association of Canada, at Ontario Crafts Council in Toronto, Ontario, 2012, and at the Canadian Clay and Glass Gallery, Waterloo, 2013.
  • “Ontario Craft ’09”, craft exhibition at the Ontario Crafts Council, Toronto, 2009.

Awards and grants received

  • Recipient of Ontario Arts Council’s  Individual Craft Project Grant, 2010.
  • “Distill Cup 2009”. Orange Lava Cup, received Honourable Mention award.

Artist’s Statement

I am fascinated by the way translucent light is transmitted through glass made with the pâte de verre method. It is the challenge of trying to control the variables to produce satisfactory results with the technique that keeps me working hard.

Pâte de verre is an ancient and painstaking process. I try to commune with those ancient craftsmen who toiled away at their craft, gathering sand and chemicals in the desert, sculpting vessels with wax, building plaster moulds, losing wax, charging glass powder, heating the charged moulds with wood fire, removing the plaster carefully after they cool down and then grinding and polishing the resultant glass pieces. Even with the help of electricity, computerized thermostat and purchasing of glass powder, the process is still very time-consuming and cumbersome.

I employ the method revived in France in the early 1900s with some variation and add modern glass-making techniques, such as lampworking and fusing & slumping. I often combine the translucency of pâte-de-verre glass with the transparency of lampworked glass to create pieces that hold a mixture of light qualities: transparent and translucent.