MEET JOHN BASSETT: John Bassett Recycled Glass

John Bassett will tell you he’s fascinated by light, structure, line, texture, balance, and color … in that order. Growing up in a family of both artists and thinkers, it’s not surprising that he can articulate his creative process in such exacting terms. What might surprise people is that he can also beautifully articulate what he does for an audience of five-year-olds. And for someone who has recently exhibited his work at the Children’s Museum, he’s has a lot of practice doing just that!

Big question first: So what are you doing to reduce your global footprint?
I make art from recycled stuff.

That works! Now, onto what we’re all wondering: How do you explain your profession to a five year old?
“I melt bottles and make things for people to look at.”

Have you always been a glass artist?
No, I actually worked most of my life as a carpenter, but I’ve been doing glass since 1979.

What is it about glass that you find so interesting?
I’m happiest in the rich, associative world of recycled glass and other found objects. I find myself focused on that most conventional quality of glass—its transparency.

Any early influences?
I was a kid who drew and painted. My uncle, Richard Bassett was a painter, but I think it was really my grandmother’s gardener who was my biggest influence. His name was Joseph LeBeau. Today, he might be considered a “naïve artist.” He also made fantastic, wonderful moving toys for kids using brightly painted Popsicle sticks and discarded lumber. He gave them all away. I have only a very small toy he made and don't know if there are any others left. I think the kids who enjoyed his toys were the only people who appreciated what Joseph made.

That seems sad.
Joseph LeBeau's story isn't really sad, I think. He was loved and is still remembered by me and probably by his family and a few other kids. A lot has changed for the better since the 1940's and 50's when he made his toys. People have learned to see and to value naive artists and the things—buildings, signs, manufactured stuff—we see every day. And people have also learned to value kids’ art. I remember when I was an architecture student about 1963 going into a public elementary school in Cambridge and asking for kids drawings and paintings. Teachers were surprised by my interest and many didn’t save the art—and neither did the kids. That wouldn't happen today.

I’ll bet Joseph be happy that kids are enjoying you’re work.
I think he would!

Visit John at www.basglas.com.


Interview by Anna Goldsmith of the Hired Pens.