The Candid Chronicle spoke with Joshua Powanda, a flame-worker and visual artist based out of Philadelphia.
Candid Chronicle: Where are you from?
Josh Powanda: I am from Chambersburg Pa, which is South Central PA.
CC: How long have you been blowing glass?
JP: I have been flame-working for three and previously did hotshop at Tyler School of Art at Temple where I got a BFA from the Glass Program there.
CC: Did you do an internship?
JP: After graduating from Tyler, with a fairly good vocabulary of techniques from the hotshop, I was lucky enough to work for JOP!, a Philly-based pipemaker. I worked with him for about two years, learned a lot, and was introduced to the other pipemakers in Philadelphia.
CC: Who is your favorite glass artists?
JP: I have a few favorite glass artists, JOP! being my favorite. I feel like I learned a lot about the industry as a whole from him, as well as an amazing work ethic. I appreciate Slinger’s work, as well as Elbo. Overall though, the whole Philadelphia scene of glassblowers are an inspiration.
CC: What is your favorite part of the glass blowing process?
JP: My favorite part of glass is probably trying to execute good craft. The articulation of form within glass is challenging and engaging, which lead to ever more satisfaction when one does achieve that perfect shape. Learning from mistakes and reaching personal goals are what keep me going.
CC: What’s the gnarliest thing you’ve seen happen in the studio?
JP: Glass is hot! I have seen some pretty gnarly burns. I have seen people catch their clothes on fire. In the end, every crazy accident has ended up ok, and a pretty good story after the fact. Glassblowing is a craft that demands your full attention, and it knows when it doesn’t have your attention.
CC: What is your favorite type of pipe to make?
JP: I have been fairly addicted to making Sherlocks, as it is a very classic shape. They go pretty far back into history, and the craft on tobacco pipes from the 16th and 17th century is mind blowing. Sherlocks also come in a plethora of shapes, and glass allows you to add your own little twists to something that, craft-wise, is pretty timeless. I have just started to do more water pipes and rigs. They are definitely more of a challenge, but the more you make them the better they get; you start to see little things that could have been glanced over the last time, and you adjust how you are working in response.
CC: What is your favorite thing about the pipe making community?
JP: Everybody seems to be pretty friendly and unified. I think we all share a common dream and have similar goals of personal growth through making, and getting our work out there so that people can see it, own it, and be happy! We all learn from each other, and we progress as a community. I am fairly new to it, and so are a lot of other talented people. I would love to see how the Vets and the newcomers can work and grow together to progress this art we love so much.
CC: Do you have any pet peeves about the glass industry?
JP: Not really a pet peeve about the industry, but it took me a little bit of time to realize that, yes, competition exists, and it isn’t a bad thing. When you start, it is hard to see the scope of the industry and the other artists out there, trying to do what you are doing. When you reach a personal point where you think that your glass is good enough to hit the market, it can feel pretty terrible to be rejected, pretty demoralizing. The realization of that competition actually made me appreciate the industry more, as it is more satisfying to work hard and see other people working hard too. You gain a healthy level of self-critiquing skills pretty quickly, and your drive to make good work grows. Shops can be picky, and it can be hard to sell your glass at first, but take it more as a challenge than any kind of roadblock.
CC: Have you seen the industry evolve throughout your time in it?
JP: I have definitely seen it progress in the few short years I have been in. Philadelphia has two functioning glass galleries: Ruckus Gallery and Front St. Gallery. New artists are coming up, and the field is growing. The legalization of Cannabis also has helped glass overall, and rappers like Action Bronson are into functional glass. The only direction is up and we all got a front seat!
CC: What advice can you give to other artists out there?
JP: Set goals and learn how to critique your own work. Keep a sketchbook. Look at form and shape and the craft of flameworking, but also be creative; even combined the two!
CC: What is your favorite color to work with?
JP: I like doing fume work, I think the range of color you can get out of gold and silver is incredible. Also black, the shine off black glass is mysterious, and primal; like looking into a piece of obsidian.
