Preston Singletary
Biography
Preston Singletary (Tlingit) is a Seattle-based artist and a leading figure in Indigenous art, contemporary art, and the Studio Glass movement. His work brings Tlingit mythology, formline design, and ancestral knowledge into direct engagement with glass, creating sculpture that is both culturally grounded and formally rigorous. A member of the Eagle moiety, Kaagwaantaan (Box House), Killer Whale clan, his practice is rooted in lineage and the transmission of cultural knowledge through material.
Singletary began working with glass in 1982 at Glass Eye Studios in Seattle. It was only when he began incorporating Tlingit stories and design systems into his work that the material took on deeper meaning—becoming a vehicle for ancestral storytelling and cultural expression. Over four decades, he has developed a singular visual language that merges Indigenous design with the optical and structural possibilities of glass, informed by both traditional knowledge and contemporary practice.
His work is held in major museum collections including the Smithsonian National Museum of the American Indian, the Museum of Fine Arts, Boston, the Seattle Art Museum, and The British Museum. Through sustained practice, collaboration with Indigenous artists globally, and a commitment to cultural continuity, Singletary continues to expand the role of glass as a dynamic medium for Indigenous expression today.
Artist Statement
When I first began working with glass in 1982, I had no idea how deeply I would connect with the material. It wasn’t until I started incorporating Tlingit designs and stories—drawing from my lineage in the Eagle moiety, Kaagwaantaan Box House, Killer Whale clan—that my work took on a deeper sense of purpose. This artistic transformation allowed me to merge ancestral storytelling with a modern medium, giving voice to both my culture and my artistic vision.
I come from a long line of strong Tlingit women. My great-grandmother, Susie Johnson Bartlett Gubatayo, was born in Sitka, Alaska, in 1880 and later moved to Seattle, where she built a foundation for our family. My grandmother, Lillian Abada, raised my mother, Jean Abada, and my aunties, Andrina Abada and Theresa Sherman, almost entirely on her own. Their influence shaped my identity and instilled in me a profound connection to my heritage—one that continues to guide my work today.
Over time, my mastery of glassblowing and Tlingit formline design has evolved, deepening my understanding of both my ancestral roots and my chosen craft. This journey has not only shaped my personal artistic expression but has also positioned me as a significant contributor to contemporary Indigenous art.
Through teaching and collaborating with Native American, Māori, Hawaiian, and Australian Aboriginal artists, I have come to appreciate how glass expands the possibilities of Indigenous art. Indigenous artistic perspectives are deeply tied to ancestral codes, land, and cultural symbolism, and working in glass adds another dimension to these traditions. This exchange of ideas continues to inform and inspire my work.
My work challenges the notion that Native artists must only use traditional materials. By embracing glass as a storytelling medium, I seek to affirm our presence and identity, reinforcing that Indigenous cultures are dynamic, evolving, and rooted in resilience. Through my art, I strive to amplify Indigenous voices, ensuring that we are seen, heard, and recognized on our own terms.
As my work continues to evolve, I remain committed to exploring the connections between Tlingit culture and contemporary art movements. I have been honored to witness how my journey has inspired other Indigenous artists to experiment with glass and other non-traditional materials. Moving forward, I hope to continue fostering innovation, pushing the boundaries of Indigenous art, and creating work that resonates across generations.
Exhibition History
Selected Exhibitions & Collections
Exhibitions
Preston Singletary: Raven and the Box of Daylight (traveling exhibition), Museum of Glass, Tacoma; Smithsonian National Museum of the American Indian, Washington, DC; Chrysler Museum of Art, Norfolk; Oklahoma City Museum of Art; Eiteljorg Museum, Indianapolis; Northwest Museum of Arts and Culture, Spokane.
Additional presentations include the Renwick Gallery of the Smithsonian American Art Museum (Washington, DC); Museum of Northwest Art (WA); Château-Musée de Boulogne-sur-Mer (France); and Seattle Art Museum (solo exhibition).
Collections
Singletary’s work is held in major international collections including the Smithsonian National Museum of the American Indian; The British Museum (London); Museum of Fine Arts, Boston; Seattle Art Museum; Corning Museum of Glass; National Museum of Scotland; Museum of Glass (Tacoma); and the Brooklyn Museum, among many others.
