Rising Stars: Meet Jill Benfield

Today we’d like to introduce you to Jill Benfield.

Hi Jill, can you start by introducing yourself? We’d love to learn more about how you got to where you are today?
I have always been creative. I started out in high school sketching and painting because materials were easy and available, but as I began to experiment with other materials, I grew to love building with mixed media, sculpting with homemade paper pulp, and making sculptural forms out of clay. I found I really enjoyed combining materials together, like anatomical forms with paper pulp branches. Glass was a material that fascinated me, but I didn’t have access to it. My drawing professor at the time told me about a place in Brooklyn NY called Urban Glass and they offered beginners classes. I spent the summer in Brooklyn taking classes and was hooked. I loved it so much, I decided to pursue my B.A with a concentration in glass from Jacksonville University. Though I started out as a glassblower, I discovered glass casting and fell in love with the process. I kept finding myself in the casting studio doing little projects and feeling really inspired by the pieces I was making. I think I was drawn to casting because of the medium’s natural beauty and technical intricacies. Not only did it have a beautiful way of picking up the finest details, like fingerprints, but there was something very contemplative and solitary about casting that appealed to me. In 2005, I graduated college and I had the privilege of working as an assistant to Nancy Blair, a local artist in Melbourne Beach, FL. Nancy became a mentor and friend, who provided many learning opportunities that led me to where I am today.
In 2010, my husband and I moved to Oregon to apprentice with Hugh McKay at Cast Glass Forms. This was where I got my greatest education in casting glass. Hugh’s unconventional approach to glass casting gave me the knowledge and the ability to create more complex work.
In 2013, I set up my own casting studio which is where I currently operate out of.

Alright, so let’s dig a little deeper into the story – has it been an easy path overall and if not, what were the challenges you’ve had to overcome?
I can’t really say it’s been a smooth road. It’s been more of a wandering journey with a lot of starts and stalls. Some of them are physical and practical, and some of them are emotional and mental. Shortly after I set up my studio, my husband and I had our first child in 2014. Since then, we’ve had two more children, and as incredible as it is being a mom to three amazing humans, it can be challenging to find extra time, energy, and space for creativity. That’s where the emotional and mental struggles come into play. I struggled with a lot of fear and questioned if I was good enough, if my work was good enough, or if I missed the opportunity to pursue my dream. At times, I wondered if I should quit. I believe this can be a huge mental battle for a lot of creatives, even if they are not parents. I have come to realize that for me, creativity is a necessary part of my mental and spiritual health.

Can you tell our readers more about what you do and what you think sets you apart from others?
Glass casting is more of a mold-making and lost-wax process, where the original form is covered by a refractory mold material that can withstand high temperatures in the kiln. Once the refractory mold is applied, the wax is steamed out (hence the term “lost wax”) and it’s placed in the kiln with glass in the reservoir. When the kiln reaches process temperature the glass melts and fills the negative space within the mold. After the piece is cooled down, the refractory mold is broken off to reveal the glasswork of art. My work consists of organisms in the process of development and change. I use natural forms and organic elements as a structural study to create visual interpretations of spiritual transformation. I am very inspired by skeletal forms and use them as the basis for a lot of my sculptures. Some of these interpretations are expressions of anxiety or inner tension. I believe art has a way of externalizing things one is dealing with be it subconsciously or consciously. For me, the best part about making artwork is getting lost in the process and coming out with greater personal understanding and time for self-reflection. In this season, I’m allowing myself to be more vulnerable about my artwork, which is the thing I’m most proud of. I’m willing to take risks even if it means failure and to push through those moments of fear.

Is there anyone you’d like to thank or give credit to?
My grandma was my first artistic inspiration. She was an incredibly talented seamstress who made everything from custom wedding dresses to everyday utilitarian items. The most inspiring thing about her was her love of exploration. She loved trying new techniques and never feared failure. I try to embody more of that kind of attitude every day.

My mom, who is also very creative, was one of my biggest cheerleaders growing up as she always encouraged me artistically. She was extremely supportive when I told her I wanted to go to college for glassblowing and has remained a constant support of my artistic pursuits to this day.

There is something to be said about having people around you who will give encouragement and compassion for where you’re at, and constructive criticism for where you want to go. I have been blessed to have a handful of those people in my life and I wouldn’t be where I am without them.
There has been no greater supporter, encourager, cheerleader, or advocate than my husband Josh Benfield.

Contact Info:

• Email: Glass170@gmail.com
• Instagram: Glass170
• Facebook: Jill Benfield Glass

Image Credits
Joe Pellegrino