Glass has been a medium of statement for me for more than 25 years. I started as a stained glass enthusiast while pursuing a career in Medical Technology. Glass gradually took over, evolving from a hobby to a spare time business to a full time obsession. Over the years my work has included Japanese-style art glass lamps, elegant jewelry boxes, and decorative hanging panels.

The current series of fused and slumped plates and bowls is relatively new, resulting from a sabbatical from production stained glass about three years ago.

My experience has included glass blowing with several Hudson Valley, NY studios and workshops at Penland School of Crafts in North Carolina and Urbanglass in Brooklyn, NY (where I will be teaching this summer).

My work is featured in a new manual for glass fusers- Contemporary Warm Glass- and has been included in several invitational exhibitions at selected galleries Fusing, or kiln-forming glass, like glass blowing, 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 degrees F. As many as 4 firings may be required to achieve the desired appearance and form. Grinding, sandblasting and polishing produce the final piece.

My work is influenced by texture and pattern from many sources including Native American fabrics, Italian masonry, classic quilts, and wood marquetry. The richly textured and deeply colored glass vessels that result highlight the magical interplay of glass and light and are variously opaque or luminescent, playful or formal, spontaneous or intricately structured.



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