History of the Bong Pt. 3 (The Art of Glass)
Though the history and culture of glass pipes and bongs runs deep, there have only been a handful of professional gallery shows highlighting the art form. 
For years glass artists were protective of their techniques. They revealed their closely guarded secrets only to their apprentices. The “glass curtain” that existed has been all but lifted by today’s glass artisans. Yet, something looming still threatens to push artists back into obscurity, and not by their own accord.
When it comes to glass art and “drug paraphernalia,” the line blurs. The arrests of Tommy Chong and the 55 people busted in 2003’s Operation Pipedreams, the biggest paraphernalia sweep in U.S. history, was a low point for a lot of activists, artists and enthusiasts.
Months after the crackdown, everyone associated with the industry was afraid of being watched and brought into custody by federal officials. Glass artists felt unfairly singled out and many even left their professions out of panic. In what was perhaps the most controversial federal move, Tommy Chong served nine months behind bars for what most considered was a sentence meant to make an example of him.
Since the sweep, glass artists have found themselves in limbo. Are they activists, artists, or paraphernalia traffickers? Further, what rights do they have to express themselves and to earn a living for their distinctive work?
Glass artist Mongo (a nickname that was given to him by Eric Wilson, bassist for Sublime) of TheGlassDude.com has been working with glass for 15 years. Having studied directly under pioneers like Bob Snodgrass, his experiences give him a unique vantage point and a firm belief that artists should be able to express themselves how they see fit.
Mongo considers himself to be both an MMJ activist as well as an artist, but he knows that “there is a certain point [he] can take advocacy to, for fear of prosecution.”
His devotion to glass is clear. “I’m in love with it!” he proclaims. [It’s] the most satisfying mind and physical combination I’ve found yet.”
Along with pipes, Mongo makes marbles and other glassware. Though, most artisans have said that there is more earning potential in MMJ work than other pieces. Mongo is proud of the wide audience he reaches with his pipes, something that artists in other mediums struggle with.
“We have taken a counter culture of people and turned them into art connoisseurs! People are buying functional art, and as an artist I’m getting appreciated while I’m alive,” he says.
Mongo and other artists have watched the glass movement rise, fall and rise again. He’s shared his time with some of the greatest in glass and he names them as his personal mentors and inspirations, “Bob Snodgrass (the Jedi Master), Jason Harris, Cameron, Bob Badtram, Milon Townsend, Dave Stroble, Marcel, Lino Tagliapietra, and Scott Deppe.”
Though the history and culture of glass pipes and bongs runs deep, there have only been a handful of professional gallery shows highlighting the art form. Conversely, a show at the Melting Point Gallery in Vancouver, B.C. explicitly stated their reason for developing a show around glass:
In society today, there is a lack of knowledge regarding the glass pipe art movement and the level of artistry and skill it encompasses. Since the events of “Operation Pipedreams” have driven this movement further underground, it is now more important than ever to present the glass pipes in the setting of a gallery in order to establish and confirm our belief that these pipes are, in fact, works of art. In order to defend our definition of these pieces as art, it is necessary for them to be placed in the same context as traditionally accepted artwork - the gallery.
While Operation Pipedreams was a blow to the movement, there other threats to the glass industry on the horizon. Currently, Mongo is concerned with second-rate glass from abroad.
Cheap glass from Asia blew my mind. When I saw a $30 bubbler from Vietnam I knew things were terribly wrong. We have to educate the public [because] they don't know about proper kiln times or techniques…billions of Chinese pipes to come through in unchecked containers…and [that] subjects the buyer to possible injury due to improper kilning and blowing…People need to see that the downstem doesn't reach to the bottom of the bubble or beaker. It goes to the middle and that doesn't work well. Another huge point is how they close off the bottom of the downstem to a small hole totally restricting the flow to the point where it hits like crap. In Asia, its not easy to get our awesome American colors because the stuff I use is expensive, around $50 a pound on average. By the time it gets to Asia, its over $80 a pound…Chinese glass just sucks, I’m talking about the raw glass they make that many American glassblowers use to save money. It breaks and cracks so much easier then Schott glass from Germany. I don't buy [Asian glass] at all.
Mongo isn’t letting cheap glass stop him from doing what he loves. In fact, he recently launched a special line of hand-crafted glassware called Medi-Kal, designed for medical patients and sold only at specialty dispensaries. The glass is a thick with a heavy bubble and glass fittings, making these bongs extremely durable and functional.
Glassmakers have seen dark times, but the community is strong. There is a very real bond between glassmakers and buyers of an authentic glass piece. Perhaps, the interaction between makers and users is shaped by the collaborative art process bongs and pipes invite.
“As the artist, I only do a part of the art, the person who buys the piece finishes it [by smoking through it] and that’s pretty awesome,” says Mongo.
Indeed, the art form that so many have overlooked is full of depth and surprises. There’s hope for the North American glass artist yet.
