Bio & Artist Statement
Glass is a demanding material that brings its own ideas to any work. I rely on traditional Japanese design aesthetics- I strive for asymmetrical balance and tension, but sometimes find that the material has another agenda. Its variety, fluidity and fragility are an unending source of creative inspiration.
The concept is simple: melt 2 pieces of glass together in a furnace or kiln. The reality is very technical and involves matching the glasses to be melted for compatibility and then carefully controlling the times and temperatures (up to 1800F) in the kiln to achieve the desired results. An extensive array of cold-working techniques- diamond abrasive grinding and carving, sandblasting, etching- complete the piece.
artist statement
I was a stained glass enthusiast while pursuing a career in medical technology and the glass won, first as a spare-time business and then as a full-time obsession. My first commercial ventures involved combining mineral and seashell specimens with glass, in boxes and hanging pieces.
My experience has included glass blowing with several Hudson Valley studios in New York and workshops in blown and fused glass at Penland School in North Carolina, Urbanglass in New York, and the Studio of the Corning Museum of Glass in New York.
Over the years my work has included Japanese-style art glass lamps, elegant jewelry boxes and decorative hanging panels. More recently I have concentrated on creating fused glass vessels of stunning form, color, and texture. My newest work involves sculptures of various sizes inspired by sources such as Japanese architecture, sculptor Richard Serra, and glass maestro Lino Tagliapietra. I am influenced primarily by texture and pattern from many sources including Native American fabrics, Italian masonry, classic American quilts, and wood marquetry.
Fusing, or kilnforming, is an ancient technique that is undergoing a revival. In fusing, the piece is set up cold, using a variety of techniques in common with traditional stained glass and mosaics. Firing in an electric kiln follows at temperatures up to 1800 °F. As many as four firings may be required to achieve the desired appearance and form. Grinding, sandblasting, and polishing complete the piece.
I have taught at the Corning Museum of Glass, Corning, NY; Worcester Arts Center, Worcester, MA; Centre de Verre, Bow NH and Warm Glass Gallery & Studio, Clemmons, NC.