Artist Statement

Though I have worked in other media, I have never found one as fulfilling and fascinating as glass.  There is something in the weight and depth of glass that has always attracted me.

I worked for many years in stained glass and learned a great deal about creating in ‘cold’ glass - how to compose with colour, texture and density.  I briefly studied glass blowing and came to appreciate the speed and spontaneity of that creative process, the ability to manipulate the flow of colour and form.  This was my first taste of working with ‘hot’ glass and it was exhilarating.  Then I discovered glass fusing and decided that it was the perfect marriage of hot and cold glass; I could use the methodical composition of stained glass, but fuse fire it to make a solid piece.  I discovered a great potential for producing sophisticated and elegant designs that retain their simplicity.

To date my designs are very linear and geometric.  Their rigidity of line takes advantage of glass’ tendency to break in straight lines.  It also makes a statement in glass that is not possible with blown glass.  I am fascinated by mosaics, by composition with close-fitting, almost interlocking pieces.  I draw inspiration from the artwork of Escher, the architecture and furnishings of Charles Mackintosh, and the glass of Klaus Moje.

I like simplicity in design and colour.  I am unmoved by work that combines too many techniques, textures and colours - pieces that are complex for complexity’s sake.  I often emphasize the use of clear and translucent material.  Light can be the key to interesting glasswork, however I have been concentrating recently on a totally opaque line, presenting a very different challenge.  I call the new line ‘Sgraffito’, from the Italian, meaning to scratch.  Here the technique involves combing or scratching through a thin layer of opalized glass powder to reveal the underlying black glass.

My technique, and the effects achieved, I believe make my work unique.  The use of a particularly uniform type of glass, and an edge-to-edge method of composition let me create works with strong, clean lines in simple but distinctive designs.  I also try to keep my work in a ‘reasonable’ price range - an asset for truly functional art.

I want to continue to explore a technique of ‘weaving’ with glass, and am also experimenting with the use of metal foils, enamels and etching.  I also hope, as time allows, that kiln-casting will figure more prominently in my routine.  As art forms experiencing a rebirth, warm glass, and glass fusing specifically, have boundless potential for producing objects with both originality and high artistic appeal.

Insight

Did you know that many references to the origins of glass forming place the time around 2000 BC? The Egyptians and Romans were undoubtedly the most advanced glass formers. Intricate bowls, beautiful jewellery, and decorative wall tiles were created by using the fusing method from approximately 1500 BC to 500 AD. After that glass blowing became the more immediate and desired forming method. Glass technology went through its greatest growth during and after the Renaissance in Europe. For some reason, the fusing process did not experience a rebirth until the beginning of this century. (Glass Fusing Book One by Boyce Lundstrom and Daniel Schwoerer) I am honoured to be playing a role in the recultivation of such an ancient art. Though I am self-taught I like to keep current on trends and advancements in the various glass arts. I attended Glass Craft Expo 2000 – Viva Glass Vegas (yes it was in Las Vegas, and no, I didn’t make that up!) in March, 2000. Maybe less glamorous, but certainly as interesting for me was Millennium Glass – Fahrenheit 2000, the Canadian glass conference in Alberta in May, 2000. Upcoming for me is Series 2002 at Red Deer College. I am thrilled to be teaching Introductory Glass Fusing, the first purely fusing course to be offered by Series. This is a fantastic program that runs every summer and offers a very wide range of visual arts courses. Look for me in the "Hot Glass" Program. For more information call 1-888-886-2787.

Résumé

Education

Galleries and museum shops across Canada including the
Glenbow - Calgary,            
Mendel - Saskatoon,
Edmonton Art Gallery - Edmonton,
Southern Alberta Art Gallery - Lethbridge,
Canadian Clay & Glass Gallery - Waterloo