Link to artist talkI

Art serves as a powerful conduit for self-expression, granting individuals a platform to convey their perspectives and be heard. My artistic portfolio comprises expansive mixed-media installations, firmly situated beneath the overarching conceptual umbrella of consumerism and the profound repercussions of time's passage. Within this artistic exploration, I've ventured into the intricate interplay between glass and wood. These divergent materials intersect in a captivating dance, yielding objects imprinted with the indelible mark of their exchange, akin to the ongoing discourse surrounding our environment's industrialization. This narrative mirrors the depreciation of one material in favor of another, effectively etching a frozen chronicle—a catalog of memories, beckoning us to scrutinize our environmental impact.

The assemblage of works presented here encapsulates a contemporary inquiry into this theme. Amidst the intricacies, constants persist, emblematic of the pulsating rhythm of our relentless industrial expansion. Each creation is intrinsically linked to its predecessor, an intricate reflection of the dichotomy between Mother Nature's enduring resilience and the pervasive grip of cultural consumerism. Notably, the absence of physical wood within these pieces is symbolic of its fate—a transformation into ashes, a poignant testament to the toll exacted upon the environment. Conversely, the glass, while physically intact, is emblematic of "Industry" and its corrosive effects, epitomizing the erosion engendered by our ceaseless consumerist pursuits. It is within this artistic discourse that we confront the potent realities of consumerism's ecological footprint, fostering a passionate call for introspection and change.

Each glass hummingbird I create is a labor of love and an embodiment of meticulous craftsmanship. The process begins with a profound study of hummingbird anatomy and behavior, delving into the intricacies of their wings, the shimmering hues of their feathers, and the way they hover with almost otherworldly precision. My intent is not merely to replicate these avian wonders but to imbue each sculpture with a lifelike quality, an essence of vitality that captures the hummingbird's essence.

The choice of glass as the medium for this series is deliberate. Glass, with its inherent fragility and transparency, mirrors the delicate nature of the hummingbird's existence. It allows me to play with light and color, recreating the iridescence of their plumage, and imbuing my creations with an ethereal glow. It is a medium that challenges and rewards in equal measure, demanding precision and skill, yet offering endless opportunities for artistic expression.

"Colors, much like the spectrum of a rainbow, play an enchanting role in Alana Biffert's glass creations. Each hue she employs is a brushstroke in the canvas of her art, symbolizing the diversity and vibrancy of life itself. Just as a rainbow emerges after a storm, colors in glass art are a testament to the interplay of light and matter. They exist because of the way light interacts with the glass, refracting and reflecting, revealing the hidden beauty within. Biffert's art captures this dance of colors, inviting viewers to contemplate the profound harmony that emerges when nature, light, and human creativity intertwine—a visual symphony that mirrors the awe-inspiring spectrum of life's experiences."

“Glass virtuoso Alana Biffert stumbled into her art as a child... She grew up in Malta, a small Mediterranean island with a rich glassmaking history. Today, her passion shines through her great mastery and desire to constantly improve her skills studying under master glassmakers throughout the world”

Simons Virtual Market

Marta and Alana have been friends from a young age, both women, well protected by their personal experiences, utilized this opportunity to collaborate to dig deeper into their own relationships, both with each other and those around them. This exploration was an experiment into how we as a society allow others to view us, what our true nature is, and when and where we open ourselves to others. How do others perceive us and how long can you know someone before they truly expose themselves to you?

Opulence; is comprised of three installations: Umbra, Lumina and Tempo.
Each art piece is congruent to the next. Designed to enunciate Canada’s
abundant resources, harmonized through process, conceptual content and location.
The Devonian Gardens is the perfect setting for this body of work, a lush green
space industrialized for our enjoyment with beautiful water features and a
living wall.

Art making for me is about significant moments of introspection. Imparting those observations as an
offering; the ubiquity of art, honored within the material’s language. I have
dedicated my education and growth to being just that; an Artist. It is my
job to discover the hidden beauty in the unfamiliar. Glass has the capability
of assuming any form in an immaculate way. It is a technically demanding
material that takes time and dedication to be mastered. It is not harmonious
with everything. Glass has a sympathetic relationship with light that arouses a
traditional connection. This is what draws me to glass as a material.

I believe that art gives us a voice, an opportunity to be heard. My work
consists of large-scale mixed media installations that fall under the
conceptual umbrella of consumerism and the authentic consequences of time.
There is a dynamic relationship between glass and wood that I have chosen to
venture. The resolution of these contradicting materials passing through one
another are objects that hold the permanent print of an exchange, much like the
conversation about the industrialization of our environment. This mirrors the
depreciation of one material in exchange for another. A frozen timeline, like a
catalogue of memories offering us an opportunity to examine our impact on the
environment.

These discoveries embodied through the destruction of the wood take on a
particular form that make each individual glass casting authentic, enunciating
the understated beauty of a moment. As two materials
revel, the dichotomy is extracted and mimicked, accentuating the indelible
qualities of glass and its ability to achieve unfamiliar forms while preserving
continuity with light.

This grouping of work is a contemporary study representing this
investigation. The variables that stay the same throughout the process
represent the pulse of our industrial growth. One could not
be without the creation of the prior, all
displayed, lined up and mounted in chronological order. The vertebras of mother
nature versus the binding notions of cultural consumerism, displayed is the
depletion of our environment in exchange for industry. The wood, though not present in physical form, is still evident. Through the process of hot casting, it is
reduced to nothing but ash. This speaks to the impact left on mother nature.
The glass embodied through its destruction represents “Industry” and the
corrosion caused by consumerism.

I would like to start off by saying thank you to Alix Wuraftic the Gift Room Manager at Willow Park Wines and Spirits for taking a chance on me and creating this awesome opportunity for exposure. This past Christmas season from November through till the end of January a collection of my work was the first to be chosen as a featured local artist. I am excited to say that this was the start of a pilot programme I was more than happy to be at the forefront of. It has been a very encouraging experience to have a large, well known, local liquor store supporting local glass makers. My line of drinking vessels consisted of a variety of optic twists and one of a kind color applications available in matching sets of decanters and footed wine vessels, tumblers, scotch glasses as well as shot glasses. You too can support your local glass makers by checking out Willow Park Wines and Spirits located on the south end of Calgary, Alberta, Canada

As a full time maker it is important to find more than one avenue of revenue. Although I spend a lot of my time instructing beginner and intermediate glass, I have other pathways that enable me to be a successful fulltime artist. I would love nothing more than to spend the majority of my time making whatever my heart desires but there is more to being an artist than just that.

Now that marijuana has become legal in Canada, as a glass maker this has opened up many new avenues for revenue. My plan is to expand out into the world of paraphernalia and lampworking. These joint holders have helped me expand my practise and keep my skill levels growing. As a glass enthusiast I believe in finding your own road to success, I wanted to be able to work with glass on a regular basis. This item has started to play a part in keeping this delicately balanced life style afloat. Glass, much like anything else in this life, requires dedication, repetition and hard work. Currently these beauties are available and you can be apart of supporting your local glass makers through this website or by visiting ‘Queen of Bud’ or ‘FivePoint Cannabis’ in Calgary, Alberta Canada.

Thankyou for taking the time to read this!

“We never know what tomorrow will bring but yesterday will always have it’s place”

Each one of these pendants is handmade by Alana Biffert at Whirl Class Glass. Located in Calgary, Alberta, Biffert is both a soft and hard glass worker. Part of Biffert’s studio practice follows a belief system ensuring each item created is given the time and consideration is deserves. That each item is completed properly and held to a high standard of excellence. Quality is important as these treasures offer away to keep looking to the future, without forgetting the past.

“The great thing in this world is not so much where you stand, as in what direction you are moving” - Oliver Wendell Holmes.