Vallien is a natural born leader. With a blend of authority, humility
and sense of humour he commands people's attention.
is not alien to Bertil. He has, for instance, made innumerable guest-appearances
at the Pilchuck Glass Center, and was in charge of the glass programme
at the National College of Art, Crafts and Design, 1967-1984. It
was an interesting though demanding position; the students he taught
being not much younger than himself. Rather than correcting their
drawing technique, he allowed them a good deal of freedom in the
creative assignments he set, in a desire to liberate their imaginations.
-At the College I had a long-term responsibility for the glass programme.
These days I enjoy working with young people for short shorter periods
of time. You can spark things off, assign imaginative projects,
throw out ideas, and fan the flames (so to speak) without the responsibility
you would have as a regular teacher. At the end of it, you can just
buzz off...leaving them totally bewildered, by a lot of novel ideas
his time at the college, the (crafts) education moved through various
phases. In the late sixties-early seventies it experienced a political
phase. Everything was called into question; the role of the teacher
and of Art in a materialistic society.
he undertook his first international teaching assignment as leader
of a workshop at the Kent State University in Ohio, USA. Since then,
he has had made annual appearances as a guest teacher at various
places around the world. But the country he returns to again and
again is the US, where he enjoys a special position in his capacity
as one of the major inspirations to the studio glass movement.
visited Dale Chihuly and the Pilchuck Glasscenter, near Seattle,
in 1980. Dale Chihuly is one of the most influential studio-glass
artists in the world. Since then Vallien has returned annually to
the Center both as a guest teacher, and principal teacher, and a
member of the committee. Pilchuck is like a watering-hole for Bertil,
and is an important source of inspiration for his art. The environment/atmosphere
at Pilchuck is undemanding and people from all parts of the world
come here to exchange experiences and to create glass by day and
by night. Bertil reckons that the years following1980 are when he
began his most significant work.
to America have been a great boost to his artistic production and
to his approach to (the commercial) glass manufacture. He has adopted
the generous, unbounded attitude to material prevalent/inherent
in the studio glass movement, and adapted it to the working practices/conditions
in Sweden. Many of the ideas that he has realised (put into practice)
within the Swedish glass industry - including the Artist Collection,
the belief in free responsibility/capability of the artisans, and
the view of glass as art - derive from his visits to the US. Over
the years he has also participated as guest lecturer at several
universities around the world.
on the roof ready take America by storm.
Pilchucks hotshop together with masterblower Bill Morris.
leftr: Italo Scanga and Dale Chihuly.