Many of her ideas begin with drawings. Her works also include pop-up books, large-scale public art, and augmented reality.[5][6]
Ruffner was named a Master of the Medium by the James Renwick Alliance in 2007. Ruffner was elected as a Fellow of the American Craft Council in 2010.[7] She received The Glass Art Society's Lifetime Award in 2019.[8]
Early life
Ginny Carol Martin (later Ruffner) was born on June 21, 1952, in Atlanta, Georgia.[3] Her father was an FBI agent, and her mother was a typing teacher.[9]
In lampworking or flameworking, a torch or lamp is used to melt glass, which is then blown and shaped with tools and by hand movements to create a sculptural form. Ruffner further develops her sculptures by painting them and by combining the lampworked glass with metals and other materials. By using a hard glass and working at higher temperatures, Ruffner was able to create much larger lampworked pieces. [16]
Through Ruffner's work, lampworking was first recognized as a medium for fine art.[12]
Ruffner's series "Aesthetic Engineering: The Imagination Cycle" of sculptures was inspired by genetic engineering and the sharing of plant and animal genes.[18] It was described as "an exuberant installation of glass, steel and bronze depicting explosive flowers, massive leaves and twisted growing vines".[6] The exhibition has travelled extensively.[19][1]
One of her public art projects, "Urban Garden" (2011), is a 27-foot high metal flowerpot, with flowers and moving petals, in downtown Seattle.[20][21] The sculpture is also a kinetic water feature.[22]
In Reforestation of the Imagination (2018) she combined sculpture in glass and bronze with augmented reality, so that digital images of imagined creatures could be overlaid on sculptural works.[5][14]
Works
Through the use of lampworking she has developed a distinctive style, creating glass sculptures, mixed media installations and works of public art that are known for being "opulent, figurative, richly colored and metaphorical".[3]
She was the subject of a documentary, Ginny Ruffer: A Not So Still Life (2010), which won the Golden Space Needle Award - Best Documentary at the Seattle International Film Festival that year.[35]
Personal life
She married Charles Emory Nail in 1975, divorced in 1980, and married Robert Edward Ruffner later that year.[3]
In 1991, Ruffner was involved in a life-threatening three-car collision. She was in a coma for five weeks. When she finally recovered consciousness, she could not speak, walk, or remember that she was an artist. Doctors doubted that she would walk or talk again. But after a year of extensive physical, speech, and vision therapy, Ruffner was able to return to work. She credits her recovery to being "stubborn and bullheaded".[3]
She spent the next five years in a wheelchair, but eventually was able to walk again. The accident left her with speech and mobility issues.[36][37] She rediscovered her own work, in part through the book Why Not?: The Art of Ginny Ruffner (1995) and then revisioned it, juxtaposing materials in ways that balanced "beauty with danger".[3]
^ abSanders, Beverly (February 12, 2009). "A Very Touchable Trio". American Craft Council. Archived from the original on 28 May 2022. Retrieved 15 January 2022.
^"Ginny Ruffner". American Craft Council. Retrieved 15 January 2022.
Miller, Bonnie J. (1995). Why Not?: The Art of Ginny Ruffner. Seattle: Tacoma Art Museum in association with the University of Washington Press. ISBN978-0-295-97508-5.
External links
Wikimedia Commons has media related to Ginny Ruffner.