Like ancient artisans, I am drawn to abstractions that arise from observing nature and its complexities. Color, shape, and placement form the relationships and compositions in the natural world that induce flora and fauna to live, breed, and intoxicate. I study natural forms and color harmonies to derive stylizations, motifs, and designs for my artglass.
Each object is also a response to the hues of each piece of glass, the manner in which light passes through or is transmitted from it, and the way that it is transformed when submitted to heat. Works that are kilnformed are preliminarily designed and laid up; but, with each successive firing, alterations of color, texture, and shape distort and refine the original conception.
At the torch, the work becomes even more intuitive and experimental. As the heat of the flame melts the glass rods, I must keep the mandrel spinning to sustain centripetal force and keep the glass from puddling on the table. Each shape and color is created with flame, graphite and brass marvers, and chemical reactions between the metal oxides and nuclei in the glass. This process mimics that of the geological and geographical formations created by volcanic eruptions, meteors, and water and sand abrasion, albeit on a microcosmic scale. Each piece or bead, when combined with others and silver, gold, and semi–precious stones becomes a unique piece of embellishment, richly organic in both its conception and its aesthetic.