George Bucquet

George Bucquet

Pushing the limits of artistic glass casting

Glass artist, George Bucquet, creates contemporary hand-formed cast glass imagery that is both meditative and visually stimulating. He began casting hot glass at Penland School, North Carolina in 1984. After completing his studies, George continued to develop new and innovative techniques for creating his original contemporary forms. His unique and elegant bowl forms gracefully capture motion and depth while appearing to emit light from within. The heirloom quality of Bucquet’s solidly rich sculptures is an uplifting addition to any style home.

Working together with precision timing, Bucquet and his assistants pour hot glass, thick and translucent as honey, into a handmade sand mold, then carefully press it into shape. A mold is individually created for each casting and the colored molten glass, formulated from scratch, is melted to 2350 degrees farrenheit in a custom-built furnace. After several days of cooling in an annealing oven, each bowl is skillfully hand-detailed with copper, silver and gold leaf.

Truly a master of his craft, Bucquet continues his quest to push the limits of artistic glass casting. George has recently started producing his new line of nautically inspired glass art. Below is more information.


“There have been a lot of changes with my work, my studio processes, and I suppose I should say, in me, too, over the last year. The current work is quite a departure from the previous modality that I had been developing for several years. There has been a transformation in technique and form, including the aesthetics that come with those changes.

Every craftsman and artist strives to control their medium to the desired result. Some mediums lend themselves to being able to be completely controlled by the artist; as with bronze sculpting, goldsmith jewelry, and painting. Other materials have an element of spontaneity and unpredictability in their nature. Hot cast glass and raku pottery are two examples where at the final point in the creation process the artist has to let go, to let the material do what it will do. Once the glass is cast, the die is set. This can lead to very pleasing and rewarding results that can effect opalescence, color, and form in my castings. A picture is worth a thousand words, as the saying goes… Well, a video is worth at least a few paragraphs, I would say. Here is a link to a short video recently produced by the Humboldt County Office of Education, about me and my work. I believe it will shed some light on the processes that I’ve embraced.
The password to access the video if needed is feedback2016”


“There has been change in the air for me for quite a while. I had been working with the previous body of work for several years. It evolved, unfolded, and was a great source of enjoyment for me. One piece inspired the next as new design elements showed themselves and new techniques evolved out of need. I’ve been grateful for that. But, I found that it was time for a change. It was time to shake things up a bit. I felt moved to take a whole new direction with my work. The new forms that I was inspired to make required that I take a fresh approach to designing and casting. It involved creating a new glass formula, new mold processes, new casting techniques, new cold work processes, and new tooling in the hot shop; basically, a departure from my previous methodology. To do that I had to stop making the previous body of work to make way for the transformation in the studio.

Process is a big part of working with glass. Most often a desired design requires an innovation in technique to make it all happen. Fortunately, I like that process and the challenges that come with it. However, as friend of mine so aptly stated, “Technique is cheap”. Technique is only a means to an end and not the goal itself, which is important to keep in mind during the creative process when working with cast glass.

As in life, the journey is as important as the destination. That being said, the beauty we recognize in nature — form, function, and the fact that it all even simply exists is astounding to me. It stops me in my tracks. Imitating nature in art seems so futile, yet I feel compelled and inspired to continue to go that direction.
I am drawn to create forms that are reflections of the beauty I see in nature and the human form… so many images.

For me, the final destination has always been simple beauty; a beauty that is innately recognized by anyone. No intellectual understanding is necessary. At times, it all seems so ironic to me that there really isn’t any beauty in an object in and of itself. The object simply is. Yet, we call it beautiful. Really, the experience of beauty is becoming aware of a resonance within ourselves, with ‘something’ ineffable; something that isn’t, yet is. It’s expansive and uplifting. It’s from outside ourselves but one with us. When I can make something that people respond to on that level I feel successful and grateful. Then, it’s all worthwhile.” – George Bucquet, March 2016


Penland School of Crafts, Penland, NC
Pratt Fine Arts Center, Seattle
Tennessee Tech, Smithville,TN
College of Siskiyous, Yreka, CA
Cabrillo College, Santa Cruz, CA
Monterey Peninsula College, Monterey, CA

Fellowships, Grants and Awards

First Place, Humboldt County Fair, CA
Grand Prize, “Black and White Ball,” Ink People, Eureka, CA
Artist in Residence, Artpark, Lewiston, NY
Honorable Mention, “North Carolina Artist’s Exhibition,” Fayetteville Museum of Art, Fayetteville, NC
Project Grant, Artist in Residence, Artpark, Lewiston, NY
Resident Artist, Penland School of Crafts, Penland, NC

Solo Exhibitions

Judy Youens Gallery, Houston
Greenhill Center for North Carolina Art, Greensboro, NC
Habatat Gallery, Chicago
Waterworks Gallery, Salisbury, NC
Artful Hand Gallery, Boston
Southeastern Center for Contemporary Art, Winston-Salem, NC

Group Exhibitions

“Best of Cast Glass, ’95,” Bell Gallery, Memphis, TN; Harbor Springs, MI

Group Shows

Somerhill Gallery, Chapel Hill, NC
Humboldt Arts Council, Eureka, CA
Atlee & Atlee, Eureka, CA
Candystick Gallery, Ferndale, CA
Rookie-To, Boonville, CA
Penland Benefit Auction, Penland, CA
Ink People Benefit, Eureka, CA
“International New Art Forms Exhibition,” Navy Pier, Chicago, Marks Gallery
“Glass Show,” Northern Indiana Arts Association Center for the Visual
and Performing Arts, Munster, IN
“Penland Overlook,” Traveling Exhibition, Asheville Art Museum, Asheville, NC
“12th International Exhibition,” Glass Art Gallery, Toronto


Expressions En Verse II, Musée des Arts Décoratifs de la Ville de Lausanne, 1989
25 Years of Contemporary Glass, Ferd Hampson, 1989
1987 New Glass Review, Corning Museum of Glass
Glass ’87 in Japan, Japan Glass Artifacts Association
Glass State of the Art II, Ferd Hampson, 1988

Permanent Collections

White House, Washington, DC
Musée des Arts Décoratifs de la Ville de Lausanne, Suisse
Glasmuseum, Ebeltoft, Denmark
Unitarian Universalist Church, Arcata, CA
RJ Reynolds Corporation, Winston-Salem, NC
Penland School of Crafts, Penland, NC
American Express Corporation, Greensboro, NC
Harvey K. Littleton Collection
Irvin Borowski Collection
Isaac Luski Collection

George Bucquet

Native Visions Gallery – Palm Beach Gardens

PGA Commons, 4600 PGA Blvd., Suite 105
Palm Beach Gardens, FL 33418
Map / Directions
(p) 561.741.1600    (f) 561.566.6694

Hours of Operation
Monday-Saturday 10:00am - 9:00pm
Sunday 11:00am - 4:00pm

Native Visions Gallery - Naples

737 5th Avenue South
Naples, Florida 34102
Map / Directions
(p) 239.643.3785    (f) 239.643.5346

Hours of Operation
Monday-Saturday 10:00am - 10:00pm
Sunday 12:00am - 7:00pm

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George Bucquet – At Work In His Studio