Glass Safari hones global bonds
- Gerrit Bester
- 2 days ago
- 3 min read
by Gerrit Bester
International collaboration in the Arts unlocks transformative opportunities for students as illustrated by the inaugural Glass Safari’s impact on emerging South African glass artists.
In July 2024, the Tshwane University of Technology (TUT) Glass Studio, housed at the Faculty of Arts and Design, hosted the inaugural Glass Safari, the first initiative of its kind in South Africa spearheaded by Caitlin Greenberg, lecturer and Section Head at the Department of Fine and Studio Arts.
This pioneering project brought together seven internationally acclaimed glass artists to engage in collaborative exchange, knowledge transfer and cross-cultural dialogue.
“By positioning glass as a medium for connection and education, the event demonstrated how international collaboration can act as a catalyst for growth within local creative communities,” says Greenberg.
Among the visiting artists were Mary White of the Women Eco Artists Dialog (WEAD) and Katrina Hude from Whidbey Island Arts Council (WIAC) in the United States, both recognised for their commitment to education and the advancement of glass as a global creative discipline.
Their participation extended well beyond the duration of the event, resulting in residency opportunities in the United States for two emerging South African glass artists, Kgomotso Mtsweni, a Postgraduate student from the TUT Fine and Studio Arts programme, and Thato Kokwana, an alum who participated in the Glass Safari through his professional association with Smelt Glass Studio.
These residencies, which took place in California and on Whidbey Island, Washington, in September this year, provided immersive experiences in professional studio practice and mentorship.
Mtsweni’s subsequent artistic development offers a tangible reflection of the transformative potential of such collaboration.
Since returning from her residency, she has demonstrated enhanced technical proficiency, conceptual depth and confidence, qualities that have, in turn, inspired her peers and strengthened the collective learning environment within the TUT Glass Studio.
Asked about the value of the residency, Mtsweni says: “This journey began when Greenberg invited seven international artists to TUT, leading to collaborations in Eswatini and at our University. I joined Hude’s glassblowing group, where I met her and White. Through continued collaboration between Kokwana, Malebogo Molokoane and the international artists, a cultural exchange and residency were envisioned. We all fundraised to make it possible. I’m deeply grateful to Prof Pfunzo Sidogi, Assistant Dean: Postgraduate Studies, Research and Innovation, and our department for assisting me with the flight tickets. I proudly represented TUT in the USA through artist talks and I am so proud to be a product of the Faculty of Arts and Design. This residency has transformed my perspective on glass art and expanded my network.”
Kokwana adds that the residency played a major role in the growth of his artistic and technical expertise in glass making.
“Being afforded the opportunity to share my experiences with the medium alongside artists with diverse backgrounds and approaches has allowed me to receive valuable feedback and witness various demonstrations, which have broadened my understanding of working with glass.”“Key insights from the residency include the realisation that much still needs to be done within our community for us to become globally competitive, as we are up against some of the most equipped and innovative practitioners in the world of glass. We have major limitations to experiment or challenge ourselves, largely due to a lack of exposure and resources. I believe that with sufficient financial support for the arts and programmes like Glass Safari we can begin to close a significant portion of this gap. These exchange programmes are vital for the growth of our glass industry, as well as for emerging and aspiring glass makers. I would like to thank White and Hude for their commitment to sharing industry knowledge and for making this exchange possible,” he adds.
“This outcome underscores the enduring educational and personal value that arises when artistic exchange is approached as a reciprocal process of sharing knowledge and experience,” adds Greenberg.
The Glass Safari represents more than a single event; it has evolved into a growing ecosystem of learning that positions South African glass within a wider global network. Through initiatives such as this, international collaboration becomes a driver for mutual growth, bridging geographic and cultural divides while amplifying the visibility of glass as a contemporary art form within the Global South.
The next iteration, scheduled for July 2026, will continue to develop this dialogue, affirming the importance of sustained, inclusive and community-centred creative exchange.
Read more about Mtsweni’s account of this life-changing opportunity by clicking below.
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