Corey Pemberton

Corey Pemberton is such a skillful glassblower that it is surprising to think that he entered Virginia Commonwealth University with the idea that he would study graphic design. He was told (courtesy of Craft Council), “it was practical” and “this is how you make money.” Well yes, that is true; but as luck would have it, he walked through the school’s craft department and saw students blowing glass. As a freshman, he recalls being “so mesmerized and hooked right away that I actually went to my adviser the next day and switched my major and studied glassblowing for the next three and a half years.”

That was the right decision; since graduating, the 31-year-old Los Angeles-based artist has been at the top of his “medium of choice” thanks to a style he developed that is both personal and fluid.

Pemberton’s unique technique developed thanks to a summer course he took with Sam Stand and Kaeko Mahatma at North Carolina’s Penland School of Craft. The artist recalls (courtesy of Luxe Source), “My hand skills improved so much that the instructor offered me a job.” However after graduation, Pemberton spent two years working at Augusta Glass Studio in Missouri. He says that hands-on experience was more instrumental than his previous four years of art school.

Most interesting, and beneficial, is that he would travel with his mentors to fairs and get a behind-the-scenes look at how everything “worked.” That, along with hearing “somebody actually speak in a tangible way about how one could make a living doing this” sealed the deal for the budding and talented glassblower. Following assistantships and residencies, Pemberton returned to Penland for a coveted two-year fellowship. During this time, he worked on glassblowing in addition to painting and other art forms he had wanted to explore.

Pemberton has many influences he counts as helping him to hone his craft. Those that are most often recalled include Ellsworth Kelly and Ruth Asawa. Handwoven Zulu basketry also comes into play; the age-old tradition of basket weaving has been passed down from generation to generation… grandmother to granddaughter… for many years. In addition to teaching the craft, the experience allows grandmothers to recite the Zulu culture’s oral history and stories. As such, Pemberton sees this as an important aspect to maintain.

The artist is red-green color-blind which some would think would work against him; however, Pemberton claimed that this “seeming limitation” allows him to have a unique approach to color. Rather than a disability, this has actually proved to be advantageous as Pemberton sees things differently than others… thus, the “strange color palette.”

Travels through Scandinavia lead to Pemberton refining his vessels. Following those stints abroad, his vases and bottles appeared more sleek. He says “The less you touch [the glass] and the more you shape it with air, the better it looks.”

With the success he has seen, Pemberton was resolute to “pay it forward” to disadvantaged students who were interested in learning about the arts. Along with Annie Evelyn who he met at Penland School of Craft, Crafting the Future was founded. Pemberton serves as the not-for-profit’s Director. He was quoted as saying, “Craft schools are immersive and less formal than the collegiate route. I’m a huge advocate [of them] and know how much you can learn.”

As accomplished as Pemberton has been as a glassblower, he was curious to try his hand at different mediums of art. In particular, his paintings have received a lot of attention. We love his “Works on Paper” as they are truly beautiful compliments to his stunning glasswork. We think you’ll agree!