GLASRIJK Icons | GLASRIJK

Category: GLASS-RICH Icons

With this new recurring section, we want to highlight people and events from the past, both near and distant, that have contributed to making GLASRIJK what it is today.

GLASRIJK didn't just come into existence overnight. Year after year, different boards, along with an ever-changing but consistently passionate group of volunteers, have worked to reshape the festival. Always within the possibilities of that moment, but always with the same passion to bring the public into contact with high-quality glass art with international allure.

For artists, Tubbergen offers a stage during GLASRIJK that reaches beyond the region. Their work, often unique and innovative, not only touches art connoisseurs but also sparks the imagination of residents and visitors who unexpectedly encounter this versatile art form.

GLASRIJK is therefore more than an exhibition. It is an encounter between artists, the public, and the community. A celebration of craftsmanship, creativity, and collaboration. And it is precisely this collaboration – between the board, volunteers, residents, and artists – that has ensured GLASRIJK has grown into an annual event that has made a name for itself nationally and internationally.

Met “GLASS KINGDOM-Icons” eren we die gezamenlijke inzet, en herinneren we ons telkens opnieuw dat achter ieder kunstwerk en iedere editie mensen staan die het mogelijk maken.

René Oude Aalink speaking

He let thousands of children discover the power of glass art.
After 25 years, René is saying goodbye to the GLASRIJK education project. We asked him to look back on a quarter century full of creativity, students, and unforgettable moments.

Let's start with the classic: Do you still know how many primary school students have been reached by your glass art education project in 25 years?

Rene: In the early years, when primary schools were a bit larger than they are now, we regularly worked with student numbers of around 220-240. Divided over 6 half-days, because GLASRIJK still extended over 5 days then and we could utilize Wednesday, Thursday, and Friday.
After GLASRIJK went from 5 to 4 days, this was accompanied by the decline in primary school enrollment.

What was for you the most beautiful or most surprising moment during all those years of the education project?

Rene: That was actually the moment Canisius was an exhibition venue for the first time. Beforehand, you think of everything that could go wrong and what measures you need to take to ensure that all that fragile glass “in a school in operation” (with over 500 students and 6-8 exhibitors in the auditorium).
Sweat pearls on the forehead, patrolling the cafeteria during breaks (3 per day) with extra staff, eyes front and back, gymnastics benches in front of the display tables as a “natural” obstacle, and then after 3 days being able to say: “we did it, nothing was broken.”
And then you're already thinking about the following years... will we do it the same way again or will it just go well from now on. And yes... then it will just go well. The secondary school students are used to behaving “quietly” for 3 days, and the 5th graders are so enthusiastic and impressed that it runs itself.
In addition, given that 1.5 years later they themselves are in the first year of secondary school at Canisius and already know the ins and outs of the Glasrijk days.

As a former site manager of Canisius, you know the schools in Tubbergen like no other. In your opinion, where would The future of the glass art educational program should be in Tubbergen?

Rene: Maintain the educational program. Introduce primary school students to art, especially glass art, but most importantly, consult early with the involved primary education coordinators about content and program. Let them think along. See if, and if so which, opportunities there are in the context of preparing for the visit to the GLASRIJK days.
Every year, every elementary school has a new group 7 or a new combined group with students from group 7. So... changes can happen, yes, but they don't have to, because for the students it's always new.

What was it most successful project or the strongest formula And why do you think that worked so well?
Rene: In my opinion, the strongest approach is to let primary school students do as much as possible, to let them experience working with glass. And let them create something they can take home, something they can proudly show to their parents, and grandparents. That's how they grow.
And that could be: the tangram figure, the little kite, an engraved plate with your own name.
But it could also be a project that all students can work on in groups. Think of: the Big Five, the school's logo, the Glasrijk logo, a 1-dimensional Tiffany object, a large-format engraving plate, images of vehicles spread over a number of years. Plenty of possibilities.

Which Thresholds or obstacles You kept running into them, and how did you manage to get around them?

Rene: Never be afraid of thresholds or obstacles, but look for solutions. Volunteering for the guidance of work assignments sometimes presented practical implementation problems. But with enthusiasm and a little effort and goodwill, much can be achieved.
For example, by looking into/discussing whether exhibitors are welcome at Canisius again, you create opportunities to deploy those people for small, short-term practical assignments. If you can utilize a practical space at Canisius, it might also be possible to call upon educational support staff.
By engaging parties such as CombiGlas or others, for example glassblower Mark Locock, there may be possibilities again (it might cost money, but something can be achieved through consultation)
The traditional volunteers“ breakfast can also be served on-site at 8:00 AM on the first GLASRIJK day (just ”arrange" it), as the education starts at 8:45 AM.

If you could only pass on one piece of advice to your successor—what would it be?

Rene: There is a good script and a well-running program. Make use of it, change what you deem necessary, but make changes in small steps. Something each year and arriving at something that is even more beautiful and better than what you have in 5 years is, in my opinion, better than overturning everything and concluding in 2026 that it didn't turn out as you envisioned.

And finally: if we come knocking on your door again in five years because we can't manage without you... will you say a firm no or keep a small opening?

Rene: I am convinced that you will certainly manage without me and that you will succeed in finding a great successor. Whether from within your own ranks, among the volunteers, or perhaps after consultation with the director of Canisius or the management of TOF within the education sector.
And after 5 years... you won't really come back to me. If that were the case, my answer would be: No, then I'll be 78. I'm not Heintje Davids, who, after all, didn't know when to stop.

A sunny conversation full of memories and future plans

On a bright afternoon, on behalf of GLASRIJK, we were warmly welcomed by Marian (left) and Ine (right). In Ine's garden, with delicious cake and coffee on the table, the stories flowed naturally. It became a meeting full of warmth: memories reflect on the time they were active at GLASRIJK, and think together about how we can shape the future.

What particularly touched us: Ine and Marian looked back with so much pleasure on their GLASRIJK period. They told how there was a large, enthusiastic team of volunteers back then, who organized all sorts of things with great energy and creativity – from Four-day cycling events and walking tours up to the first glass art trails. Monthly meetings were held where everything could be discussed, subsidies were obtained, and there was a huge drive to put Tubbergen on the map.

The Glass art route came into being about ten years ago thanks to a subsidy that Els Voogdgeerds secured. Marian, Ina, Wil and Dinie set together with artist Karin Wijnands the routes, complete with artworks in private homes, QR codes, and information boards. The VVV era was a period of strong collaboration: everyone had their own task, there were hostess courses, newsletters, and a lot of support from the municipality and businesses. Mayor Hoeben played an important role in this. Schools were also actively involved: children were brought into the world of art as young ambassadors.

At the same time, it also became apparent that the maintenance of the artworks was becoming a problem: some works were damaged or dirty, and there were too few people to keep everything running. The money also ran out.

Good news: the Glass domain cycle routes are of great interest! The three cycling routes together cover 110 km and feature 19 unique artworks. This year, a special working group is busy on their bikes (!) inspecting all the routes. Where necessary, signs will be repaired and artworks refurbished, so that cyclists can once again enjoy a beautiful, complete experience.

With this fresh maintenance, we are preparing the routes for a new generation of visitors. Because GLASRIJK is not only there to be admired, but also to be experienced – cycling through our beautiful landscape full of glass art.

What I remember most from this conversation is the enormous passion with what Marian and Ine look back, and their involvement in the future. Their practical tips for the board en stories confirm that GLASRIJK has grown big thanks to Teamwork, fun, and creativity. Fortunately, I recognize that in our current board and among the volunteers who are currently involved. Because only when you are in that flow together do beautiful results emerge.

Naturally, one wish remains: how can we get more – and especially younger – residents of Tubbergen as enthusiastic as they used to be about getting involved with GLASRIJK? Perhaps it starts with conversations just like this one: in the sun, with coffee and cake, looking back and looking ahead.

Marian and Ine, thank you very much for your hospitality, inspiration, and for sharing your experiences. The conversation with you gives new energy to continue building the future of GLASRIJK.

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GLASRIJK is about people

There is no GLASRIJK without the people who help organize it; it has always been this way, even in the past. We look back together with Bert Wubbolts, who together with others at the cradle tents Glassware. Almost again 30 years ago.

If you ask Bert Wubbolts about his role in the founding of GLASRIJK Tubbergen, he shrugs his shoulders. “Oh, I never advertised myself,” he says, with a cup of black coffee in hand. But if you talk to Bert a bit longer, you'll quickly discover that he's a indispensable pioneer He was a man with vision, guts, taste, and a good sense of timing.

Bert started a store in 1973 with Ans: Warenhuis Jan Mensink, later known as La Cuisine. A store where you could find everything, from toys to tools. But Bert wanted more. “I thought: That stupid tools, I want to get rid of them. I want something beautiful. Something better.”

It started with kitchen appliances, but grew into a unique range of design and glass art. He drew his inspiration from trade fairs in Frankfurt, Milan, and Birmingham. There he saw glassware that made him think, "We have to show that in Tubbergen." So he approached the artists, often with nothing more than a few brochures and a good deal of enthusiasm.

“Would you like to exhibit in Tubbergen?” he asked. “Tubbergen? What am I supposed to look for there?” the artists asked. Then Bert showed photos of his shop, the flyers from previous exhibitions, and he talked about GLASRIJK. And sometimes someone would say: “Yes, I'll come.”

This is how Bert built the GLASRIJK network. He was not only a salesman, but also ambassador, curator, organizer. Without ever wanting to be in the spotlight. He linked the exhibition to his shop's collection, but without personal gain. “I didn't want people to think it was a party for La Cuisine,” he says. “That's why I wasn't featured in any of the brochures.”

Taste? Sleek, Scandinavian, Italian. Not a fan of fusion or “accidental successes.” For Bert, art is something made with craftsmanship and attention. A commission, a design, an execution: that is art.

He was at the cradle of GLASRIJK, together with Jan Perik, Jos van Beem, Father Van der Zwan, Arie Vreeswijk, and Jan Loeters from Rabobank. “We had someone for everything: someone from the church, someone from the community, someone with money, someone with knowledge of art.”

And it worked. For years, GLASRIJK attracted tens of thousands of visitors. Hotels were full, restaurants had top turnovers. “Even in Ootmarsum, everything was full,” Bert recalls. Yet, the municipal subsidy was eventually stopped. “They didn't see the value. Not economically, not culturally.”

Bert didn't give up. In the twelfth and thirteenth year, he organized GLASRIJK almost single-handedly. With the help of volunteers, but without a full board. “I wanted to maintain the standard. No street fair. No chip stands.”

His down-to-earth style, entrepreneurial spirit, and love for quality are still palpable within GLASRIJK today. And although his name isn't at the forefront, every edition of the event carries a piece of Bert with it.

Over the years, lasting memories also emerged in the village: the stained-glass window in the church tower and the mayor's glass ceremonial chain are tangible symbols of what GLASRIJK wished to bestow upon the community of Tubbergen.

An inspiring force. A craftsman. A man who wanted to make Tubbergen more beautiful. And he succeeded!