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Her piece Meat Chandelier (2018) alludes to traditional Venetian light fixtures that were typically overflowing with intricate glass florals, but in the place of flowers, we see dangling hot dogs, salami, prosciutto, and pork chops.

Another example is currently on view at CMoG.Ĭzeresko is featured in the museum’s survey of contemporary glass “New Glass Now,” which brings together work by 100 living artists at the forefront of the medium.

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An early manifestation of this was a series of oversized glass animal feet, which will be part of an exhibition at Venice’s glass kunsthalle La Stanze del Vetro in 2020. The artist’s current practice revolves around introducing gender into the traditions of glassmaking she often refers to conceiving her work through the lens of a mythical Venetian glass maestra. But for 15 years, she made a living creating custom lighting designs and fabricating works in glass for fellow artists (she still does the latter, in addition to teaching classes at Brooklyn’s UrbanGlass). She earned her MFA and studied glass under William Gudenrath, as well as Venetian masters including Elio Quarissa, Dino Rosin, Pino Signoretto, and Lino Tagliapietra. Now in her late fifties, Czeresko only started focusing on her art practice over the past five years. One woman loudly announced she’d taken time off of work to spend the day watching the artist in action.Ĭzeresko admitted she’s thrilled with the attention that Blown Away has garnered, but she’s focused on the long game. As she took breaks from making thick glass hubcaps, admirers huddled around her, singing praises and requesting selfies. Working with Corning’s expert glassmakers in the museum’s Amphitheater Hot Shop, where visitors can watch and ask questions, Czeresko was developing pieces for an automotive-inspired chandelier. A residency at the museum was part of the Blown Away prize package, which was valued at $60,000. When we met in early October, the fandom had followed her to the esteemed Corning Museum of Glass (CMoG) in Corning, New York, where she was in the midst of creating new work.

She recounted that a large group of women recently stopped her, and one insisted that the artist sign her chest (Czeresko reluctantly agreed). “It’s kind of amazing,” Czeresko said, reflecting on the minor stardom that’s causing New Yorkers to lovingly accost her. Viewers were inspired by seeing a strong creative woman dominate the competition while articulating a feminist, inclusive message. Some contestants and Twitter users were peeved by Czeresko’s unbridled passion she could be counted on for candid, frustrated outbursts or gleeful declarations of pride. Her pièce de résistance was an installation for the finale: a feminist take on breakfast, including a fecund fried egg and a chandelier of sausage links.

Asked to make botanicals, she procured a set of oddly poetic potatoes summoned to imagine a futuristic robotic device, she fashioned the Man-Bun in the Oven, an external womb for men to wear to gestate and during a food challenge, she managed to make tacos appear über-elegant through a set of Venetian-style dishes. And while some contestants in the show’s first season crumbled under challenges that required conceptual depth, Czeresko thrived. In a similar vein to Project Runway or Top Chef, Blown Away gathers glass artists to compete in creating innovative artworks. Czeresko was the winner, and runaway star, of the streaming giant’s recent reality competition series Blown Away. Yet the New York–based artist Deborah Czeresko-who you’ve likely not heard of-can hardly leave her Lower East Side apartment without being recognized. It’s rare for a visual artist to have the sort of celebrity that compels strangers to stop them on the street.

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