Charlynne Lafontaine : glass

Charlynne has been working with glass since 1990 and began her pursuit of glassblowing at Sheridan College in 1993 studying under Dan Crichton and Kevin Lockau. She was introduced to flameworking in 2003 and has taken classes with Emilio Santini and Alex Hamilton as well as Karina Guévin and Cédric Ginart. Since 2007 Lafontaine works and teaches out of her studio creating sculpture and jewellery of coloured and textured flameworked glass.

Her work has been featured in the arts publication Art & Science Journal, CBC News and Ici Radio-Canada, Apt 613, Glass Art magazine, Ottawa Life magazine and exhibited in stores and galleries in Canada and the United States. In 2012, working with Ryan Lotecki, Lafontaine completed the Somerset Street West public art commission for the City of Ottawa. Later that year, she was shortlisted for The Bronson Centre public art commission. In 2017, along with Manuel Baez, Lafontaine was awarded a Canadian Heritage Capital Experience commission for a temporary installation on the observation deck of the Portage Bridge in Ottawa.

Since 2005, Lafontaine has participated in numerous exhibits including The New Art Festival, The One of a Kind Show, the Ottawa Glass Bead show, ArtSpace 613, Gallery 200 and Studio Sixty-Six. In 2016, some of her wearable art pieces were worn in a glass fashion show at the GAS (Glass Art Society) conference held at the Corning Museum of Glass, in Corning New York. In 2017, a group exhibit at Habatat Gallery’s Glassotics Show in Royal Oak, Michigan resulted in some of her pieces becoming part of private American glass art collections.

In 2015, Lafontaine spearheaded the establishment of Loretta Studios and Gallery, a glass focused multi-disciplinary artists’ collective and gallery in Hintonburg. Loretta is where her studio now resides.

“Although my work has an anthropological focus, each artwork has its own connection to biological forms, whether to the human realm or to the plant or fungi variety. It is easy to find metaphors between these biological entities and our culture or its affect on us. The interpolation of the organic forms with objects as they relate to fashion, the environment or social phenomena, speaks to both the atrophy and the development of our society. The use of biomorphic glass components allows for a distortion of reality, as well as the creation of pieces that are both aesthetically and intellectually pleasing.”