For the Creative Professional Working in Hot, Warm, and Cold Glass March/April 2014

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staub Gas.indd 1 1/15/14 1:31 PM Letter from the Editor Reinventing the Glass Wheel 6 by Shawn Waggoner

Pioneers in Glass Benjamin Moore, Inc. March/April 2014 Volume 29, Number 2 8 Heart of the Seattle Glassmaking Scene by Shawn Waggoner

Working Greener Mary White Investigating Environmental Topics Using 14 Recycled Glass by Shawn Waggoner

Warm Glass Studio Profile Uniquely Richard LaLonde A History of Making Glass Techniques 20 More Spontaneous by Shawn Waggoner

GAS News Experience a “Day of Glass” with 26 the Glass Art Society

Independent Artist Inventing to Create 28 New Work and Products by Michael Dupille by Shawn Waggoner

Marketing Taking the Leap to Selling 32 in Galleries and Boutiques by Mark Veit

Retailer Profile Prism GlassWorks, Ltd. 34 by Colleen Bryan

Art Glass Studio Profile Sunflower Glass Studio 40 A Study in Fluidity by Colleen Bryan

Winning Glass Forty-Four Vessels 46 Exploring the Irish Cylinders of Dale Chihuly

Skills and Techniques Traditional Glass Painting Made Easy 48 Tracing Fundamentals by Peter McGrain

What’s New Featuring the latest in books and products for the glass enthusiast 54 by Darlene Welch 57 Readers’ Forum SGAA News 58 SGAA 105th Annual Summer Conference SAMA News In Members’ Own Words 60 by Gwyn Kaitis

Advertisers’ Index 62 Above; Peaches and Ferns by Karen Caldwell On the cover: Benjamin Moore, Interior Fold Set, blue spiral wrap.

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www.GlassArtMagazine.com Glass Art TM • March/April 2014 • 5 Glass Art Letter from the Editor Volume 29, Number 2 Publisher ~ Maureen James Reinventing the Glass Wheel Editor ~Shawn Waggoner Copy Editor ~ Darlene Welch When I reveal to nonglass people that I edit and Accounting ~ Rhonda Sewell write for a magazine exclusively dedicated to glass art, often the reaction is one of surprise—surprise that Circulation Manager ~ Kathy Gentry a magazine with this focus exists and that there would Advertising ~ Maureen James be enough interesting information to fill it year after Graphic Artists ~ Dave Burnett year. Finding compelling subjects to cover has never Mark Waterbury been a problem, and this issue of Glass Art pays tribute to the many brilliant and talented artists aesthetically or technically redefining the medium. Contributing Artists and Writers The professional and personal camaraderie initiated and continued by Benjamin Moore Colleen Bryan, Gwyn Kaitis at his studio BMI is both the cornerstone of his success and the hallmark of the Seattle glass Peter McGrain, Mark Veit experience. His top-notch glassblowing team makes the work of the world’s finest artists Shawn Waggoner, Darlene Welch and designers, at once paying homage to and putting their own twist on the traditional Italian glassblowing tradition. Glass Art™ On the West Coast, artist and educator Mary B. White explores environmental topics ISSN 1068-2147 is published bimonthly using recycled glass. Her work, which includes solar powered birdbaths, glass watershed by Glass Patterns Quarterly, Inc. maps, and glass flood-level markers, reflects an interest in sustainable practice and reduc- POSTMASTER: Send address ing her personal carbon footprint. Using recycled glass has inspired a new approach to her changes to Glass Art, sculpture, requiring unprecedented experimentation, trial, and error. Two fusing pioneers, Richard La Londe and Michael Dupille, began their careers by 8300 Hidden Valley Road, inventing the tools, techniques, and products they needed to express more spontaneously P.O. Box 69, Westport, KY 40077 with fused glass. La Londe’s Liquid Glass Line process and Dupille’s Tranchant du Verre Telephone: 800-719-0769 provide the next generation of artists with new methods for kiln working glass. 502-222-5631 Whether hot, warm, or cold glass is your passion, this issue of Glass Art showcases the variety of artists and ways in which they reinvent the medium of glass to make art with Facsimile: 502-222-4527 content and impact. History will show that glass artists did not exclusively rely upon the Website: www.GlassArtMagazine.com seductive qualities of the material, but pushed it beyond its inherent beauty to say something E-mail: [email protected] relevant about inner and outer worlds. Subscriptions: United States, Canada, Inspiring you to find your true voice in glass, and Mexico (U.S. Funds): one year $30; two years $48; three years $60. Foreign (U.S. Funds): one year $56, one year airmail $70. Single copy price (U.S.) $7. Shawn Waggoner All subscriptions must be paid in Editor U.S. dollars, with an international money order or with a check drawn on a U.S. bank. Periodicals Postage Paid at Westport, KY 40077 and additional mailing offices. ©2014 Glass Patterns Quarterly, Inc. All items submitted to Glass Art become Richard La Londe, the sole property of Glass Art and cannot Fuchsia Rim Mandala be reproduced without the written con- sent of the publisher. Advertisers and/or agencies assume all liabilities for printed advertisements in Glass Art. Opinions Deadlines for Advertising expressed in Glass Art may not necessar- May/June 2014 July/August 2014 ily reflect the opinion of the magazine, its Ad Closing March 20, 2014 Ad Closing May 20, 2014 management, or its advertisers. Ad Materials March 30, 2014 Ad Materials May 30, 2014 Issue Mails April 24, 2014 Issue Mails June 27, 2014

6 • Glass Art TM • March/April 2014 www.GlassArtMagazine.com

www.GlassArtMagazine.com Glass Art TM • March/April 2014 • 7 Pioneers in Glass Benjamin Moore, Inc. Heart of the Seattle Glassmaking Scene

by Shawn Waggoner

seminal figure in establishing Seattle, Washington, as a contemporary glass center, Benjamin Moore provides his studio Aand top-notch glassblowing team to make the work of the world’s finest artists and designers. The groundbreaking art produced on King Street at Benjamin Moore, Inc. (BMI) contributes both to the glass arts and the art world at large. But the true gift of art making within this supportive community is the camaraderie and lifelong friendships born out of such a unique creative environment. This is the lifeblood of the Seattle glass experience. Benjamin Moore at King Street Studio, 2002. “The one thing I learned from Dale [Chihuly] that made a pro- Photo by Russel Johnson. found impact on me and has always been a part of my career is the joy of working with others. The camaraderie of our community here, working with one another and supporting each other, is huge. Dante Marioni and Preston Singletary both came to work for me out of high school, and when I look at their careers now, I’m the proudest guy in the world.” Moore served as Chihuly’s primary gaffer from 1975 to 1982 and was the first educational coordinator at Pilchuck Glass School in Stanwood, Washington, beginning in 1977. Following graduate studies with Chihuly at the Rhode Island School of Design (RISD), Moore went to work at the Venini Glass Factory in Murano, Italy. In 1978, he brought the Italians to Pilchuck for the first time to demonstrate time-honored techniques rarely seen by U.S. artists. For the Americans, this exposure resulted in a dramatic increase in the sophistication of works produced and further entrenched the value and process of working glass as a team. Though Moore dedicated much of his career to making Chihuly’s work, their aesthetic approach to glass, form, and color could not be more different. In his own work, Moore reveals a modernist sensibility reflected in pure geometric forms and simple colors.Translucent , a solo exhibition held at the Museum of Glass, Tacoma, Washington, from February 2012 through October 2013, presented a selection of his masterpieces that simultaneously evoke aspects of historical tradition and the refinement of a unique contemporary aesthetic.

Falling in Love with Glass Moore grew up in Olympia, Washington, admiring the European decorative objects sold in his mother’s gift shop. In high school, he began working in clay and apprenticed in Tim Cruise’s production studio making traditional high-fire stoneware. Following graduation, he attended Central Washington University in Ellensburg, Washington, where he majored in ceramics and studied with Rich- ard Fairbanks, well-known Northwest ceramics artist and head of Central’s ceramics program.

8 • Glass Art TM • March/April 2014 www.GlassArtMagazine.com Moore’s hunger for a change of pace and a new scene inspired Making the Chihulys him to apply to California College of Arts and Crafts (CCAC, now During a two-month winter session between semesters at RISD, California College of the Arts). He studied ceramics with Viola Chihuly traveled to Ireland with a colleague. On that trip, an auto Frey and took his first glass class during his junior year with Marvin accident caused him to lose the vision in one eye. Upon his return, Lipofsky. “Marvin demonstrated one of his California Loop series, he asked Moore to become his gaffer and assist in making his work. then handed me the blowpipe and said, ‘Blow glass.’ You just had to “Dale was a very skilled glassblower, but with his entrepreneurial go for it, which is a huge and wonderful thing, that American sen- sensibility, it made sense for him to back off and have other people sibility.” Moore also discovered his passion for theater and drama, make the work.” winning the lead in a play written by drama professor Sydney Carson Chihuly’s aesthetic allowed Moore to work with glass in a way and loosely based on “The Wife of Bath,” which is among the best that he personally never would have. The fundamental concern and known of Geoffrey Chaucer’s Canterbury Tales. focus of his own work was and is to achieve simplicity, balance, Though he earned his BFA in ceramics from CCAC in 1974, the and clarity of form. Simple geometric shapes such as the sphere and choice to pursue acting or visual art was not an easy one. As luck the cylinder are often referenced. He uses color generally to attract would have it, he saw a poster for Pilchuck Glass School, and upon attention to contour, but utilizes very little surface decoration that mentioning it to his parents, he was gifted with tuition as a gradua- would take away from the purity of the object’s form. tion gift. When his summer course there came to a close, Chihuly, In comparison, Chihuly’s work was more about working glass in Jamie Carpenter, and Fritz Dreisbach stayed on to do their own a hot and fluid way. “It opened my eyes in many ways. Making the work, and Moore was invited as an apprentice to work with them. Navajo Blanket Cylinders, the Baskets, then the Seaforms all gave As head of RISD’s glass program, Chihuly offered Moore a me a better sense of the potential of the material and the different graduate fellowship in 1975. “I’ve always been interested in travel ways it could be worked. Working with Dale was truly a remark- and having new experiences. The concept of moving to the East able experience. He was always so much fun to work for and with, Coast and working at an institution like RISD was very exciting.” very supportive and so generous with all the people who gaffed for Once in Providence, he started working with glass exclusively and him starting with Jamie Carpenter, and then myself, Billy Morris, never returned to clay. “The seductive quality of the material and Richard Royal, and now Jim Mongrain.” its immediacy were irresistible.”

Benjamin Moore and Dale Chihuly at Rhode Island School of Design (RISD), Providence, Rhode Island, 1977.

Left:Benjamin Moore, Palla Set in red, 2001. Photo by Russel Johnson.

Far left: Benjamin Moore and Louis Mueller, Cloud Installation, private residence, Seattle, Washington, 2001. Photo by Russel Johnson.

www.GlassArtMagazine.com Glass Art TM • March/April 2014 • 9 The Italians At RISD, Moore felt he had hit a learning plateau and in 1977 following graduation, he traveled to Venice. He wrote to 15 different Italian glass factories and received one response, a telegram from Venini that read: “Come along. We might make arrangements for work.” It was a long shot, but Moore decided to give it a try. He met Ludovico Santillana, owner of the company and son-in-law of founder Paulo Venini, who passed away in 1961. “Here I am in the most prestigious glass house in Venice and a huge one in Europe making a design presentation. I could tell halfway through that it wasn’t going to happen. I was young, but Santillana was intrigued with my ideas. So I said to him, I would do anything just to have the opportunity to work on the factory floor.” Moore began work at Venini with lead Maestro Checco Ongaro. He was given a studio in an old men’s locker room on the second floor. The only time he could make his own work was during lunch break. When Ongaro saw him working on weekends, he offered to make some of Moore’s designs himself at the end of a workday, if time allowed. In 1978, before he left Italy to return to Pilchuck, Moore made a presentation to Santil- lana and was invited back the next year as a designer. He juggled his role as education coordinator at Pilchuck and working at Venini for the next few years.

Benjamin Moore and Checco Ongaro at Venini, Italy, 1978.

Benjamin Moore, Optic Twist Grouping, early BMI limited editions, 1986. Photo by Roger Schrieber.

10 • Glass Art TM • March/April 2014 www.GlassArtMagazine.com Using his connections in Italy, in 1978 Moore was able to bring Ongaro to Pilchuck to teach a three-week glassblowing workshop. He was the first Venetian to teach at the school. “Checco provided a truly unique opportunity for people to sit and watch an artist with his rich tradition of Venetian glassblowing and learn all the fundamentals that were so profound and made such a huge difference in the sophistication of objects made here, as seen in the work of Billy Morris and Dante Marioni, for example.” Ongaro’s brother-in-law Lino Tagliapietra was the next Italian to teach at Pilchuck. “Lino saw how crudely everyone worked with the material. The glass was icy cold, and steps in the process were repeated unnecessarily. But he also saw the no-holds-barred attitude the Americans had. This meant that he, too, could do whatever he wanted with glass. He saw something special happening and wanted to be a part of it. Also, the incredible collector base that existed in the United States meant that he could stop being a factory Maestro and start being an artist.”

BMI In 1980, the building at 1213 South King Street housed a production glass studio called The Glass Eye, owned by former Pilchuck staffer Rob Adamson. Adamson had found great success producing Christmas ornaments and paperweights using ash from Mount St. Helen’s eruption. Marioni, Singletary, Cunningham, and Joey DeCamp all started working there in their teens. At age 17, Marioni was the punty boy at The Glass Eye, where Moore was making a high-end line of production glassware. “Benny was always such a gentleman and a positive role model for me, really encouraging and friendly in a way that other successful artists were not. I was really taken with the work he made. He could blow Benjamin Moore, Pink Hornet lamp, collaboration glass on center at will. At the time, the prevailing aesthetic was with Walter White, circa 1982. hippie stuff, which never spoke to me. Because of him, entirely, I Photo by Roger Schrieber. ended up doing what I’m doing. I was influenced by his aesthetic more than anyone else’s.”

Pilchuck’s Golden Years Moore was the director of education at Pilchuck during what he considers the school’s golden years. “Dale’s philosophy was that you don’t really teach art. There were assignments and critiques, but you learned more from watching the faculty produce work. Being taught by practicing professionals at the top of their games was invaluable.” Chihuly had achieved a high level of notoriety through his development of the RISD program and his personal success with the Navajo Blanket Cylinders. “Dale had worldwide connections and the ability to call upon different European artists to come teach at Pilchuck. It was such an exciting time in that all of a sudden there was an influx of artists from different glass cultures—Scandinavian, Bavarian/German, and I brought the Italians. The Europeans shared their rich tradition of glassmaking that dates back centuries. We Early BMI team, King Street Studio, from left to don’t have the same rich history in American glass culture. Their right: Scott Darlington, Rich Royal, Dan Dailey, Tony sensibility was so much more sophisticated.” Biancanello, Robbie Miller, Benjamin Moore, Paul Cunningham, and Preston Singletary. Chihuly’s goal was to create an international glass communica- Photo by Russel Johnson. tions center by inviting artists in all areas of glass, such as stained glass greats Ludwig Schaffrath, Johannes Schreiter, and Patrick In 1985, Adamson moved his studio to a larger space, Moore Reyntiens. He invited Jaroslava Brychtová and Stanislav Libenský bought the building and founded BMI. He began to develop the from the Czech Republic, Bertil and Ulrica Vallien from Sweden, American version of what he’d witnessed at Venini, designing and and Ann Wolff from Germany. “They had so much to share, and producing limited production glassware for companies such as that was totally mind-blowing, because we’re all self-taught in the Nordstrom and Neiman Marcus. From the beginning of BMI, Royal Studio movement.” played a major role in the development of the studio and as a gaffer.

www.GlassArtMagazine.com Glass Art TM • March/April 2014 • 11 Bored with the repetitive nature of production work, Moore began to realize that he was uniquely poised to fill a void for friends and fellow artists he’d met at places such as RISD and Pilchuck. He endeavored to provide a space and a team to make their work using the younger generation of glassblowers, themselves in the early stages of finding their aesthetic voices. Many artists have made their work at BMI assisted by Moore and his team. These include Tagliapietra, Morris, Royal, Marioni, Singletary, Ethan Stern, Eric Woll, Sean O’Neill, Lipofsky, Dick Marquis, Dick Weiss, Paul Marioni, Cappy Thompson, Therman Statom, Narcissus Quagliata, Danny Perkins, Chihuly, and Dan Dailey. For more than 20 years, all of Dailey’s blown glass has been made at BMI by a team usually headed by Moore himself with the gaffing being done by Royal and Marioni, and assisted by Cun- ningham, Singletary, Michael Fox, O’Neill, Sam McMillen, and Granite Calimpong. “Everybody on the team is always so excited when Dan comes, because his sensibility is so unique. His way of working is so exacting and always a challenge,” says Moore. Dailey travels to BMI a couple of times per year to have parts and components of his sculpture blown by BMI’s expert team. “Glassblowing is not a process I want to own. I like compartmental- izing. I never go away with finished product. I’m always making parts, then I work on the piece back at my studio. Ben is sensitive to what I need and knows who has the best skills and temperament to work on my projects.” Though many of the artists making Dailey’s work have their own successful careers, they continue to blow glass for him and others at BMI out of mutual respect and admiration. The enviable professional and personal camaraderie initiated and continued by Moore is both the cornerstone of his success and the hallmark of Proudly Manufactured in Redlands, CA, U.S.A. the Seattle glass experience. www.covington-engineering.com

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www.GlassArtMagazine.com Glass Art TM • March/April 2014 • 13 Working Greener

Mary White Investigating Environmental Topics Using Recycled Glass

by Shawn Waggoner

ay Area sculptor and arts educator Mary Bayard White addresses environmental Bissues in her art such as water resources, re- newable energy, urban habitats for wild birds, and affordable housing. White’s materials reflect an interest in sustainable practice, as she has gradually begun to use primarily recycled glass and salvaged metal parts in much of her work, which includes solar powered bird baths, glass watershed maps, and glass flood-level markers. In a project completed in 2011, White collaborated with scientists and city agencies to design and build an 18-foot-high flood level Mary B. White (glass) and Christian Muller marker in Boulder, Colorado, on the downtown creek path. Used to (stone), GFW Memorial Flood Level Marker: measure flow during the September 2013 floods, the glass and stone Boulder, Colorado, 18' high, 2011. Float glass plus metamorphosed and igneous rock. structure marks 50-, 100-, and 500-year flood levels. The marker Photo by David Butler. was a memorial to her father, Gilbert White, sometimes called “the father of floodplain management.” “The abilities and characteristics of glass—polarities and di- chotomies, interior edges, reflections, rapid transformation to many forms—have served me well as one of my main mediums to address Fulbright Scholarship to Ireland the confluence of environmental issues, art, and science.” Throughout White’s career, she has been active in promoting From 2002 to 2013, White was co-head of the fusing/slumping and teaching the arts at over 15 institutions including The Studio at area at The Crucible, a nonprofit industrial arts educational facility the Corning Museum of Glass (CMOG) in Corning, New York; Pil- located in West Oakland, California. There she and others taught a chuck Glass School in Stanwood, Washington; and the Fire Station broad range of youth and adult classes for all levels of students from in Dublin, Ireland. “I believe in the magical power of the creative beginners to advanced artists. In an effort to bring more sustain- process that can bring diverse people together to work and learn able practices to The Crucible glass area, White introduced several from each other and nature. It is this power that can bring forth new recycled glass courses in 2007. visions and new ways of dealing sanely with critical environmental With an MFA in glass and painting from California College of the and social problems facing us.” Arts (CCAC), White became the head of San Jose State University’s In 2009, White traveled to Ireland as a Fulbright Scholar at (SJSU) glass area following the passing of Dr. Robert Fritz in 1986. the National College of Art and Design (NCAD) in Dublin. She She worked there as an instructor in the School of Art and Design co-led, with NCAD glass tutor Carolyn Madden, an experimental, and the Creative Arts Program until she retired in 2005. In 1995, two-semester graduate seminar called The Landscape of Aesthetics a group of her SJSU students and volunteers started the Bay Area and Design for 19 glass, ceramics, and metals students and Crafts Glass Institute (BAGI) in San Jose, a public access hot glass studio Council of Ireland members. The seminar focused on developing funded by proceeds from a huge glass pumpkin patch. critical thinking, analysis, and writing skills. White served as a board member and site co-coordinator for White also led a 5-day recycled glass workshop intensive at the 1994 Oakland Glass Art Society conference. In addition, she Dublin’s The Fire Station. “The students were incredibly enthusi- organized the California Glass Exchange (CGE) at SJSU in 2003 astic and smart, and it was a privilege to work with them. Because and at The Crucible in 2012. This event, hosted every few years at fusible, compatible glass is less available in Ireland, many were a California school that has a glass program, serves as a regional eager to use float glass, and many had extensive experience prior glass exchange of ideas and information. Since 1988, White has also to the class. We fused, slumped, cast, printed, and surface-treated served on the board of the Women Environmental Artists Directory float glass, primarily. NCAD had just replaced many old windows (WEAD), supporting and encouraging the role of women artists in in the art college, so we were fortunate to be given as much float environmental art and education, and is a board member of BioGlass. glass as we could possibly use.”

14 • Glass Art TM • March/April 2014 www.GlassArtMagazine.com Mary B. White: (Left) Wanderers and Seekers #8, 73" high, 2012. Recycled window glass, scrap steel, and lighting. Photo by Kim Harrington. (Center) Dwelling with Portrait. Photo by Doug Keister. (Right) Rolling one day at a time towards sustainability, 66" high, 2007. Recycled window glass, clay/recycled window glass mixture, and threaded rod. Photo by Lee Fatheree.

In collaboration with the Crafts Council of Ireland, NCAD, with recycled glass is a little bit like life. It’s very unpredictable. and Fulbright committee, White organized two exhibitions, then One never knows where the material comes from, and one has to catalogued and co-directed with the seminar students a two-day be a hunter-gatherer to enjoy this field.” symposium at NCAD called Inter-Changes: Craft & Context. Working with recycled glass presents a series of challenges She further lectured at Mason Hayes & Curran Solicitors, Dub- including limited color range, varying compatibilities, and unpre- lin, Ireland; Crawford College of Art, Cork, Ireland; the Glass dictable sources. “At The Crucible, we asked students to be adven- Society of Ireland, Dublin, Ireland; and the Irish Geographers turous and curious. Often engineers and scientists were attracted Annual meeting. to my class, because they are willing to do the necessary testing “Ireland is the ‘Green Isle of Writers,’ and all of the arts are of materials.” fostered and respected. I was honored to work with talented, One of the most successful ways to use many recycled glasses, creative, resourceful, humorous, and effective students and staff other than slumping pieces, is to cast the glass into molds. “Recycled who are using their skills as artists to make new connections to glass is great for making large basins, such as birdbaths with solar their own communities. I came back from Ireland feeling as if I pumps and other outdoor applications. Bottles, mayonnaise jars, had been the lucky student and my students, the teachers.” window glass, and glass lenses from eyeglasses can all be used, but to insure compatibility, are rarely combined.” Working with Recycled Glass For her 2010 recycled glass class held at The Studio at CMOG Running the glass program at SJSU demonstrated to White and co-taught with Reddy Lieb and Peter Mangin, White purchased exactly how much energy was being used by the furnaces and glory glass from a commercial recycling center—25 pounds of ground holes. To counter this, she became interested first in ladle-casting up green, blue, and clear glass. When the glass is finely ground, it all of the leftover glass in the hot shop and later in working with can be sintered (barely fused) at a temperature that is also used for window glass. In an effort to reduce her personal carbon footprint, pâte de verre. “I learned this sintering process from Bob Kirby, a she gradually moved away from working exclusively in hot glass glass engineer who received a grant to teach artists in California toward creating more warm glass pieces and cold fabricated work. about different applications for recycled glass. Sintering allows the In order to do so, White began investigating a variety of post- glass to stick together without being completely compatible. But the consumer glasses including float, bottle, and tempered float, which real story is test, test, test. Find the kind of glass you’re interested she used for both cold fabrication and slumping/fusing. “Working in using and do a lot of tests.”

www.GlassArtMagazine.com Glass Art TM • March/April 2014 • 15 The Proof Is In the Pudding Now, nearly all of White’s sculptural and personal work is made from recycled glass, as seen in her series Dwellings. This body of work explores the relationship of place and home to the physical world. “Safe housing is a human right. Increasing mobility and migration bring up many questions about what home is and what a dwelling can provide. The house shape can be a metaphor for these inquiries of human and place interaction.” Started in 1993, White’s Dwellings series is cast or slumped and illuminated internally by a variety of lighting techniques. Materi- als include recycled, reused, or salvaged glass, wood, and metal. White cuts up discarded window glass into house shapes, waxes the glass together, and invests it in a plaster/silica mold. Each firing requires a minimum of one week. On other Dwellings forms, she cold works small glass pieces, then glues them together with silicone into a house form. “As an artist, it becomes a quest to use Mary B. White, Illuminations: Dwelling on Bay Area as much sustainable practice as possible in the making process.” Foreclosures, 8' x 6', 2012. Recycled window glass, Currently working on a series called Illuminations, White created bricks, plywood, projector, three-minute film. her piece, Dwelling on Bay Area Foreclosures, for a 2012 CCAC Photo by Mary B. White. glass alumni show. By projecting a movie she made from the ceil- ing down onto the fused and slumped glass panels, she was able to address the issues of losing a home in greater detail and more intense content. Raising curiosity about bees and the role of pollination, White’s Sacred Pollination was originally produced for Shattered: Con- temporary Sculpture in Glass. This group exhibition explored the creative, conceptual, and formal aspects of contemporary glass sculpture. Coinciding with the fifth annual ArtPrize competition and held at Frederik Meijer Gardens & Sculpture Park, Grand Rapids, Michigan, Shattered will host 25 artists from across North America, Europe, and Asia until January 5, 2014. Pollination shows large bees crawling on flowers, gathering pollen on their legs. The projection surface is salvaged window glass cut into a large sunflower shape and fused to create texture on the surface. The blue bricks were cast from salvaged hot shop glass. Mary B. White showing recycled glass samples, including a portrait plate of Harvey Littleton and a marble plate she made out of John Manville #475 marbles from pioneer Jan Reep’s hot shop, 2013. Photo by Suzanne McMillan.

Bioneers For many years, White has attended the Bioneers gathering at the Marin Civic Center in Marin County. The mission of Bioneers is the advancement of holistic education pertaining to global social, cultural, and environmental issues. Bioneers identifies progressive yet nature-honoring solutions to rising challenges of instability, in- equality, and unsustainable growth and disseminates this knowledge via independent media events and community action networks. For the 2006 Bioneers, White and collaborator Andree Singer Thompson created an outside exhibition to encourage viewers to offer the decreasing number of wild birds running water, nesting materials, and plants that provide food. They made eight birdbaths with solar powered pumps to create running water. In 2008, WEAD presented an exhibition held in conjunction with Bioneers called Sources: Water Sources of China, Tibet, and Mary B. White, Illuminations: Sacred Pollination, the Bay Area, Parts 1 & 2. White collaborated with Thompson and 7' diameter, 2013. Recycled window glass, cast Christina Bertea on a metaphoric water hole to stimulate a gather- salvage hot shop cullet bricks, projector, and three- ing place. She covered the interior of an old satellite dish with her minute film. Photo by Mary B. White. cast glass bricks and floated solar powered fountains in the water.

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www.GlassArtMagazine.com Glass Art TM • March/April 2014 • 17 HYG glass art ad 3.625x4.875 020314 FINAL.pdf 1 2/3/14 1:03 PM

(Top) Sue McMillan, Garden Arch, 8' wide, cast recycled bottle glass, 2013. (Bottom) Sue McMillan preparing bottle glass for casting, sorting crushed and recycled bottle glass into bisque clay firing molds. Photos by Mary B. White.

The Future of Recycled Glass Last spring, many people attended White’s recycled glass class at The Crucible. “There is currently more interest in using recycled glass. People try working with it, but they can get discouraged by the limited color palette and all of the testing required. It’s hard to compete with the wonderful color of the manufactured fusible, compatible glass palette.” But for some, it’s the perfect solution to working with glass in an environmentally responsible fashion. Artists such as Sue McMillan, one of White’s recent students, is enthusiastic about using bottle glass and has begun to collect and categorize a variety of shapes and colors to incorporate in her palette. McMillan began working with glass in 1971 at the University of California, Berkeley, one of the first two glass programs in Califor- nia, this one founded by Marvin Lipofsky. Her recent return to the medium has resulted in whimsical garden sculpture that incorporates old metal bed frames and recycled cast glass circles and moons. In January 2014, White taught a class at St. Mary’s College in Moraga, California, called Art in the Garden, the Garden in Art. The session provided an opportunity for students who are not glass artists to work with mosaics and gave White the chance to experiment with glass she collected from a local greenhouse that was demolished. “I don’t think the artistic vision of recycled glass has been fully explored.” © Copyright 2014 by Glass Art. All rights reserved.

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www.GlassArtMagazine.com Glass Art TM • March/April 2014 • 19 Warm Glass Studio Profile

Uniquely Richard La Londe A History of Making Glass Techniques More Spontaneous

“For me, it’s important to be both a good craftsperson and an artist. I delight in the technical aspects of glass. One minute it works, the next it falls on the floor and breaks, or it comes out of the kiln in pieces. So it’s like being on the edge of the medium, and I like that aspect a lot. However, I have a large enough technical grasp that I’m free to express what I want to with the material, especially with the technique I developed with crushed glass. I lay down the glass, like doing a sand painting, and then fuse it together. This process allows me to blend color and to be more spontaneous. Drawing with the crushed glass also has permitted me to work more freely, especially in my bowls. I just sit down and make them for sheer joy.” ~ from Out of the Fire, Bonnie Miller, 1991

Richard La Londe, Botanical of Desire 12" x 20" x 18", 2014.

by Shawn Waggoner

ichard La Londe’s work reflects an undeniable harmony. He As the work evolved, La Londe began translating his ideas into strives for balance between left and right brain, meaningful the pictorial murals and handkerchief vessels he is known for today. Rcontent and technical prowess, spontaneous creation and tight His fused glass Lotus Bowl was purchased in 1983 by the Corning design. In 1983, this pioneer of the Northwest fusing movement Museum of Glass, Corning, New York, for its permanent collec- was one of the first instructors for the Bullseye Glass Co., and his tion. One of his early public commissions, Into the Mythos, can be exploration and experimentation with the medium resulted in the seen at the SeaTac airport, Seattle, Washington. He has completed introduction of multiple new techniques. a total of 15 public works including his 2012 Washington State Born in 1950, La Londe grew up in Vancouver, Washington, Arts Commission Percent for Arts project, Enchanted Journey, for graduating in 1972 from the University of Washington with a degree Spanaway Elementary School in Spanaway, Washington. in geology. Early on he held many different jobs including com- With a deep desire to share what he’s learned, the artist has also mercial fishing in Alaska, becoming a journeyman welder, building authored two books, Richard La Londe: Fused Glass Art and Tech- houses, creating stained glass windows, forging ornamental iron, nique, and Richard La Londe and Friends: Fused Glass, Vitreous blowing glass, and building kilns. Enamels and Other Techniques. He teaches workshops around the His love affair with fusing began in 1981 when he started fir- country and at his studio on Whidbey Island in Washington State. ing Bullseye glass in an electric kiln. “In the early 1980s, Bullseye With his students, La Londe always shares his desire to make glass created the first complete color range of glass that was compatible techniques more spontaneous and to create art that is truly unique. and when fused together didn’t crack apart.” La Londe taught fusing classes for Bullseye in glass facilities around the United States and in Canada from 1983 to 1988, and in 1985 taught at the famed Pilchuck Glass School in Stanwood, Washington.

20 • Glass Art TM • March/April 2014 www.GlassArtMagazine.com Richard La Londe, Enchanted Journey wall mural, 40" x 25", 2012. Spanaway Elementary, Washington State Arts Commission, Spanaway, Washington, fused glass.

Above: Richard La Londe, The Four Elements, 50" x 52" and 23" x 20" each panel, 1994. Liquid glass line technique with fused crushed glass, dichroic glass, and gold leaf. Illustrations for La Londe’s book, Heart of the World, 14 pieces total.

www.GlassArtMagazine.com Glass Art TM • March/April 2014 • 21 Cut Sheet Glass Murals and Vessels In the early days of the Northwest fusing movement, La Londe, Ruth Brockmann (La Londe’s then wife), Boyce Lundstrom, David Ruth, Gil Reynolds, and a few others were experimenting with the new medium, resulting in the birth of an art form. La Londe’s early fused glass design evolved from his stained glass technique. His process began with an original, full-scale design on paper. The artist then cut pieces from sheet glass, placed them side by side on a piece of clear glass, and fused them together. He embellished and enhanced his imagery through the use of crushed glass frit and stringer. As La Londe’s designs increased in complexity, his desire to draw with the glass intensified. Frustrated because he wanted to express with the glass as spontaneously as he could with charcoal on paper, La Londe began hand-smashing frit in something that looked like a butter churn, then sifting the smashed glass through hardware cloth and window screen. The resulting frit and powder provided a material for more immediate expression. Skilled as a builder, the artist designed and fabricated any equipment needed to make his work, essential in the early days when supplies and equipment were not readily available. He built a glory hole out of a three-pound coffee can from which he pulled stringer and designed a glass fusing kiln with top elements. This equipment allowed La Londe to create his first large wall mural, Neptune’s Waltz. Measuring 48 inches high by 65 inches wide, the piece consists of 12 sections, each 16 inches by 16 inches. The mural sold in a week through his gallery for $2,000, a hefty sum in 1983. Two years later, La Londe was awarded his first public commission for Black Lake Elementary School, Olympia, Washington. In

www.glashaus-magazin.de the days prior to computerized design and PowerPoint presentations, www.glasshouse.de La Londe had to develop his own method for creating an architectural model to present to the Washington State Arts Commission. He fused 6-inch-high tiles and drew details on them with a black felt pen. To give the committee an idea of size, he cut figures out of a magazine, placed them in front of the fused tiles, and photo- GLASHAUS graphed them. Internationales Magazin für Studioglas Once the commission was secured, he met the challenge of figuring out how to create and mount one of the first ever large-scale fused glass wall murals. Metamorphosis measures 60 inches wide by 24 feet long. “One criterion for the commission was that the kids be able to touch the glass, and that made me nervous. I tried to include a variety of things for the kids to notice and make them laugh, such as the Kilroy-like figures and other funny creatures I refer to as flying hood ornaments.” Designed in 12-inch by 12-inch sections, the fused glass was adhered to an aluminum background using silicone adhesive and screwed to the wall. La Londe created 12 wall pieces and 125 vessels between 1983 and 1988. His success working with frit and creating murals in a GLASHAUS / GLASSHOUSE 4/2013 7,50 EUR K49413 EUR GLASHAUS / GLASSHOUSE 4/2013 7,50 larger format inspired his vessels made from cut, fused, and hot combed sheet glass. The most recognizable of his vessels are his GLASSHOUSE Botanical Series, one of which appeared on the cover of his book, Richard La Londe: Fused Glass Art and Technique. His personal favorites, these pieces feature hand crushed frit and pulled cane as well as a more sophisticated design. Tobias Hedwig Young Machiko Gerd Kammerer Emmert Masters Etchu Sonntag

22 • Glass Art TM • March/April 2014 www.GlassArtMagazine.com Richard La Londe, The Four Seasons, 58" x 78", 1988. Fused crushed glass laid down without a pattern, free design.

Free Design Frit Eventually La Londe reached the apex of spontaneous expression and created five wall panels in 1988 using his free frit design technique—sketching with glass powders using no drawing or pre- conceived design. He continues to make vessels using this technique, but over time he returned to more controlled imagery for larger work. For his piece To Love You Must Let Go, the artist drew directly on the glass using powders hand smashed with a giant mortar and pestle crusher, originally designed for milling gold ore. La Londe piled powders on top of 6 mm clear glass, then full-fused the work. At the time, thicker glass was not available, so he used two sheets of 3 mm glass. “All these tiny bubbles were trapped in between the two sheets, and I had to drill all of those out with a Dremel tool. For this piece, I drilled out 60 to 100 bubbles.” The piece was full fused a second time, so the viewer is looking through the clear glass to the powders underneath. La Londe’s The Four Seasons was designed for a show at The Glass Gallery, Bethesda, Maryland, and was one of the first large pieces he sold in a gallery for over $10,000. “For years I have at- tempted to say something with my artwork. I am influenced by archaeology, nature, and primitive or what I call ‘touch the earth’ Richard La Londe, Intuition, Washington State Health Laboratory, peoples. I am saddened by human beings’ general destruction of 26" x 22", 2004. One of eight panels commissioned through the our natural world and our planet.” Washington State Arts Commission. Liquid glass line technique with fused crushed glass, dichroic glass, and gold leaf.

www.GlassArtMagazine.com Glass Art TM • March/April 2014 • 23 The artist created five wall panels featuring this technique and Liquid Glass Line continues its use for vessel forms. His initial Bolero Series, 1988 La Londe is credited with developing the Liquid Glass Line to 1992, included free-formed spirals and lines sprinkled on in a technique, the main process he uses to create his glass art. It requires sandpainting manner. The vessels were fused, flipped over, fused a mixture of carboxyl methyl cellulose (CMC) and water, produc- a second time, then slumped into a metal mold on a third firing. La ing a thick gum, which is then mixed with powdered glass (08 size Londe’s Mandala Series, 2002 to present, incorporates thin cop- Bullseye) and applied in a line that sits on top of the glass like a per foil, which produces a bubble pattern when fired, gold hand- piece of spaghetti. Once dry, La Londe fills in areas with additional etched foil, and crushed glass that looks like granite rock. “These glass powders. “I saw a piece of cloisonné at a show, and it hit me pieces use more subtle colors. I am striving to create a meditative, that that’s what I’d been doing. A lot of these ideas have already harmonious feel.” been done. It just took me a while to make the connection. When I wrote Book 2, I discovered Frances Higgins was doing something Frit Follows Design similar years before I was.” Cutting up strips of glass and fusing them together was never Another breakthrough happened when La Londe talked Bullseye enough for La Londe. “I wanted to tell stories and present imagery into rolling its first clear 6 mm glass for him. He says: “I didn’t have that people could think about. A lot of people tell me they can look at to drill all those bubbles out, I didn’t have to deal with volume con- the work, come back to it a week later, and see something different.” trol issues, and I was able to continue to advance my work using the Realizing that paper patterns provide more design control, La Liquid Glass Line. It allowed me to produce more and clearer detail Londe returned to drawing imagery on butcher paper with Sharpie and crisper pieces in less time.” This thicker glass soon showed up markers. He flipped his pattern upside-down on a light table, laid in Bullseye’s catalog. clear glass on top, and outlined the design with black or white In 1994, La Londe created The Four Directions, 14 panels used crushed glass. A small paintbrush fine-tuned details, and colored as illustrations for his self-published book titled Heart of the World. frit filled in the outlines. Dichroic glass plus gold and silver leaf These panels were available in a limited edition of 10 and sold as sets applied after the piece was fired added detail. of the Four Directions or the Four Elements or individual panels. In his works Look Too See, Remember the Stars, and Whirlwind, “It was a breakthrough for me, because I had the pieces displayed La Londe works in large modules that go together to create even to show the work, but I took orders so I didn’t have to make them larger wall pieces and still allow him to ship the work via UPS. In ahead of time.” these layered, floating pieces, a large sheet of aluminum backs the Between 1993 and 2003, La Londe created 54 wall pieces and glass, with two angles that are pop-riveted onto the backing to float 203 vessels using his Liquid Glass Line method. They include the modules off the wall. The glass is attached to the aluminum with public work for a school in Alaska plus a library and a hospital in silicone caulking. “I have a piece mounted this way on the south- Washington. Vessels include his Bolero II series and Dragon series. facing exterior wall of my studio that I’ve moved three times. It’s 25 years old and still holding up just fine.” The mounting systems, imagery, and size of his work signaled that La Londe was moving toward producing more public work. “I really admired Diego Rivera and what the Mexican muralists were doing. I had a vision to create pictorial artwork that says something for large public spaces. Working with architects, I soon found they didn’t want artists doing that in their build- ings.” He was inspired to investigate and began pursuing public art commissions.

Richard La Londe, Red Rim Dragon, 13" x 19" x 17", 1999.

24 • Glass Art TM • March/April 2014 www.GlassArtMagazine.com the glass mold company

Richard La Londe and Angie Dixon, Emergence, 24" x 13", 2010. Recycled float glass, metal, and enamels.

New Year, New Work La Londe has returned to making the Botanical series. He cre- WWW.SLUMPYS.COM • WWW.FACEBOOK.COM/SLUMPYS ates his sensual botanical vessels by fusing colored crushed glass and silver foil that is then slumped into a wavy stainless steel mold during a second firing. “This is my favorite glass series, which is very time consuming and technically difficult. They don’t all survive the kiln, which makes these vessels really special.” JEN-KEN Pro-Fusion He currently explores glass and metal combinations as well as some new work with recycled float glass, as seen in his 2010 GLASS KILNS collaboration with wife Angie Dixon in a work titled Emergence. From our Drawing Recycled float glass, metal, and enamel come together to express Board to your Studio! the couple’s love of tribal cultures and ancient artifacts. Precious Pro-Fusion LiteTop-Firing Glass Kiln metal foils, sheet copper, and vitreous enamels are fused together on recycled sheet glass. Heats and Cools Quickly La Londe is currently working on some new pieces that combine bronze, recycled float glass, metal foils, and enameled glass. “In Fuses Glass in about the early days, I reveled in discovering new techniques. With fus- 1.5 Hours ing glass like Bullseye and Spectrum 96 today, most of the basic This 16" square kiln techniques have been developed. I am newly excited about fusing recycled float glass, as I can get back into discovering how to make weighs only 45 pounds! it work.” Features ● Element at Lid in Quartz Tubes For more information on upcoming classes, books, and artwork ● 120Volts – 15 Amps Draw AF3P 16 Square go to www.richardlalonde.com. ● Clamshell Design ● Stay-Back Lid for Easy Project Assembly Look for Subscriber Benefits coming to Subscribers Only via ● 1700ºF Maximum Temperature ● Small Kiln with Big Kiln Features links in upcoming e-mails from Glass Art. This Bonus Content ● 1-Year Limited Warranty will include additional information on Richard La Londe’s 2012 ● All Rigid Fiber Construction Washington State Arts Commission Percent for Arts Project, En- ● Even Heat Distribution Perfect for Fusing, chanted Journey, for Spanaway Elementary School in Spanaway, Slumping, Annealing, and Painting Washington. 1-800-329-KILN www.jenkenkilns.com © Copyright 2014 by Glass Art. Manufacturers of the finest electric kilns since 1951 All rights reserved.

www.GlassArtMagazine.com Glass Art TM • March/April 2014 • 25 GAS News

Featuring the latest from the Glass Art Society Experience a “Day of Glass” with the Glass Art Society

esidents and visitors to the city of Chicago, Illinois, will have the opportunity to get a behind-the-scenes look at Rthe amazing world of glass art as the Glass Art Society (GAS) hosts a “Day of Glass” on March 19, 2014. This free, open to the public event will take place at various locations throughout the city and is being hosted in conjunction with the GAS annual conference. Please note that advance registration is required for some events.

A Tour of Excellence Chicago will become an epicenter of glass art as world- renowned studios showcase guided tours, exhibitions, and artist demonstrations throughout the city and in select surrounding suburbs. The Day of Glass will offer everyone from curiosity seekers to seasoned collectors an up close and personal look into the amazing world of glass art by many of the great local glass artists and creators. Some of the city’s most influential glass art studios will open their doors for tours and demonstrations throughout several of Chicago’s distinct and vibrant neighborhoods. Par- ticipating venues include Ignite Glass Studios, West Supply, Solstice Stained Glass, Chicago Glass Collective, Chicago Glassworks, Little Black Pearl, Chicago Hot Glass, Opal Glass Studios and Ed Hoy’s International (advanced registration required).

Chicago Art Galleries Join In The Day of Glass has also attracted the participation of a number of art galleries in the city that will feature special glass exhibitions and events in honor of the GAS Conference. On March 21, the select galleries in the River North Gallery District will open their doors to the public from 5 p.m.–8 p.m. Ken Saunders Gallery, ECHT Gallery and Vale Craft Gallery will also be hosting special opening receptions during the Gal- lery Hop. We hope you will take advantage of this fabulous opportunity to view some of the finest in glass art.

For more information or to register for the Glass Art Society annual conference, please visit www.glassart.org.

2014 Glass Art Society Lifetime Achievement Award winner, Dan Dailey, Smoochers Circus Series Vase, 42" x 16-1/2" x 10", 2010. Blown glass, © Copyright 2014 by Glass Art. sandblasted and acid polished. Fabricated, patinated, nickel and gold-plated All rights reserved. bronze. Pâte de verre and lampworked glass details. Photo by Bill Truslow.

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www.GlassArtMagazine.com Glass Art TM • March/April 2014 • 27 Independent Artist

Inventing to Create New Work and Products by Michael Dupille

by Shawn Waggoner

s an early pioneer of the Northwest fusing movement, Michael Dupille is Aused to developing processes and products that allow him to achieve a new aesthetic. In his early days creating and teaching at Camp Colton with Boyce Lundstrom, techniques and materials were still being discovered. Artists had to invent in order to create. For Dupille, old habits die hard. His modus operandi is to work in ways that other people aren’t. “Once I have things figured out and have created a body of work, I am ready to move on to something else. That’s how I’ve always functioned, even when I was painting.” Dupille has been employed as an art creator or educator throughout his career. Experienced in a variety of media including animation, illustration, print, and textile design, he continues Michael Dupille, Neighbors, to challenge himself through invention and in- Tranchant du Verre method, novation. Since the late 1980s, his medium of 21" x 26", 2006. choice has been glass exclusively. The artist developed and refined many kiln forming processes, Tranchant du Verre, the Knife Edge of Glass especially in the area of mold making and kiln casting, and recently Dupille has been experimenting with his palette knife as an exclu- collaborated with Grace Boyd at Pyro Media in Seattle, Washing- sive process since 2004. He mixes a specially formulated CMC gum ton, to create a new line of large-scale kiln shelves and molds that he developed called Vitrigel with System 96 powdered glass. Starting eliminate the need for fiberboard or fiber paper. But he is most with a drawing or photograph, he applies the mixture to a compat- well known for his work in Fritography—using frits and powders ible, flat base glass using a series of palette knives. He applies a layer to develop painterly images on a panel that can be either tight and over the entire piece, then runs a basic fusing program to 1460ºF in highly detailed or loose and impressionistic. His work can be found his top and bottom fire kiln. The hold time will depend on the kiln in numerous public and private collections including those of the used. “Taking the first firing to a full fuse establishes the volume Washington and Oregon State Arts Commissions, The Everett and a good image base to continue building the rest of the piece.” Cultural Commission, The Seattle Times, The Pierce County Arts Next, Dupille renders his image using the palette knife, then lets Commission, Amazon.com, and the Seattle Mariners. it air-dry. Drying time depends on the thickness of the medium and Recently Dupille has been investigating a process for creating usually takes a couple of hours. Sometimes he adds dry frit with a imagery on glass using a specially formulated CMC mixed with custom-bent spoon to highlight textured areas and create contrast. powdered glass and applied onto a panel using a palette knife. The “You can do a flat fused piece or define it with texture. I do a number work is fired multiple times and enhanced with dry frit application of firings to full-fuse temperature, then on the last firing I go through to help reveal the texture. The results have inspired students and with the palette knife, highlighting the image to create texture. Then collectors alike. “There are different ways to create detailed, fluid I take it to a partial fuse to get the texture on top. You can leave the work without having to cut little pieces of glass. And I am always previously fused areas open to create flat, smooth areas, and on the trying new ways to produce painterly work in a more immediate top layer the texture highlights the imagery you’ve defined. The fashion.” work has a nice tactile and visual presence to it.”

28 • Glass Art TM • March/April 2014 www.GlassArtMagazine.com Creating an Art Form Dupille’s palette knife process has been evolutionary. His background as a painter and illustrator are revealed in the watercolor quality of much of the work. He attended Central Washington University in Ellensburg from 1974 to 1976. The glassblowing program there was the largest in the state at the time, boasting three furnaces. Many prominent artists including Stan Price, Mark Eckstrand, and William Morris studied there under the direction of Gary Galbraith, glass program head. After college, Dupille moved back to Washington to the Seattle/Tacoma area and decided to pursue painting and illustration work, attending Clover Park Vocational Technical Institute in Tacoma, where he studied offset printing and lithography. In 1978, he co-founded Avalon Art School with a couple of other artists. Eventually he met fellow fusers Richard La Londe and Ruth Brockmann at a street fair. They had both just begun doing a little fusing and told him about Lundstrom and Bullseye Glass Co., which at that time had eight colors in its palette. They invited Dupille to their studio and eventually introduced him to Lundstrom, who became one of his closest friends. Trained as a printer and with his knowledge of design and illustration, he was asked by Lundstrom to design some of Bullseye’s print advertising. “When Boyce discovered I had a glassblowing background, he invited me to Camp Colton to help him with design work, layouts for his books, and developing kiln formed techniques. I even did a successful T-shirt design for Catspaw Opal in 1982.”

Michael Dupille, Big Jay Feathers, kiln formed glass, fused and slumped set, 48" x 20", 2009.

Michael Dupille, Swirly Night, Carved Frit Sandwich technique, 10" x 10", 2010.

www.GlassArtMagazine.com Glass Art TM • March/April 2014 • 29 Michael Dupille, Cats Paw Opal T-shirt design for Bullseye Glass, 1982.

After working on fusing books two and three, Dupille started teaching glass classes at Camp Colton. “We taught students what we knew at the time, but the process was still developing. In many ways we were flying by the seat of our pants. Being around Boyce was always a riot. We laughed continuously. I’ve never met anyone quite like him. He was a friend, a mentor, a genius.” In the early 1990s, Brockmann won a competition sponsored by the Or- Michael Dupille, Ragtimers, egon Arts Commission to create a pair of murals for the lobby of the Portland Tranchant du Verre method, 21" x 26", 2005. State Office Building. Created in collaboration with her partner Hal Bond, Dupille was also enlisted to collaborate on the two murals, which covered a total of 320 square feet and was comprised of fused glass, kiln cast glass, and colored cement.

Introducing Pyramid Shelves and Molds In keeping with his “invent to create” background, Dupille has been working with Grace Boyd at Pyro Media, who developed a refractory material that can be used to create large-format kiln shelves. According to Dupille, this material had a history of proven performance in a production environment for over 10 years. “We can create them to any size up to 44 feet wide by 8 feet by 1 inch. We can also produce custom, large format, low relief molds for glass doors, screens, or window elements that require production molds for repeated use. These will be designed (by you or us) and CAD- cut as a plastic model, from which the refractory mold will be produced.” Dubbed “Pyramid” shelves and molds, they can be jet cut to any shape and also used as dams. According to Dupille, Pyramid shelves eliminate the need for fiberboard or fiber paper while providing a flat, seamless, durable surface on which to fire. They have a very long life span, do not outgas, and can be used with shelf primer only, reducing the need for Thin Fire or other refractory sheet separators. The 3/4-inch shelves can be cut to size for use with existing kiln lines such as Evenheat 25 x 41 or Skutt 25 x 41 octagons. Prior to first use, the shelves are coated with a primer and fired to 300ºF with a 10 to 15 minute soak. Normally, before each use, the shelves and molds would be lightly sprayed and heated to 250ºF with a short soak pe- riod. “Although our material is more expensive than similar products, the Michael Dupille, A Clear Mind, shelves and molds perform well for many years and are worth the slight cast glass and copper, 18" x 10" x 2‑1/2", part of a series of owl pieces done from difference in price.” the same Castalot mold, 1996.

30 • Glass Art TM • March/April 2014 www.GlassArtMagazine.com Attitude, Analysis, Annealing As an innovator of new techniques and products, Dupille has been in demand as a teacher for the last three decades, instructing in art since the mid 1970s and in kiln formed glass since 1988. His glass instruction has taken him all over the United States and Mexico. “I enjoy the interaction of glass and students and have seen it change people’s lives. Nothing is more gratifying for me than to see former students succeed in their own personal expression of the material.” Although each of his workshops focuses on a particular technique, he always devotes a portion of the class to imparting a more concrete understanding of the fundamentals of kiln formed glass. “The 3 As of fusing are attitude, analysis, and annealing.” Over the years Dupille has taught at Ed Hoy’s in Warrenville, Illinois; Pacific Art Glass in Gardena, California; Rainbow Art Glass Inc. in Sacramento, California; and the Pittsburgh Glass Center in Pittsburgh, Pennsylvania, to name just a few. He also teaches regularly at the Glass Craft & Bead Expo, held each spring in Las Vegas, Nevada. In March 2014, Dupille returns to Expo with one class in Fritography, one class based on his successful DVD, When the Frit Hits the Fan, and two classes in his new process, palette knife fusing. Last year there was a waiting list for his Expo classes. “At first, I was the only person doing frit work. Now there are many people teaching the techniques. Working with frit and fusing in general gives you freedom of expression. Learning how the colors work, how they fire, and what you can do with the different sizes provides a conduit for your imagination.” In 2014, Dupille will begin scaling back some of his workshop travel and offer classes at his home studio in Tacoma. These four- and five-day intensives in May, June, September, and October will focus on subjects such as self portraits, comprehensive frit, kiln casting with Castalot, and the palette knife process. Classes will be limited to six people so students can see what other participants are working on. He will also release a new DVD on his palette knife process in the fall of 2014. Dupille is a grand experimenter, and some of the most unique developments in his Light Cherry Red work have been the result of experimentation or aesthetic accident. He has the mindset of a perpetual student, always looking for ways to make his art more interesting and unique. Lemon Chiffon “I really like the challenge of working with glass, because the material will continue to Yellow challenge you. But you have to be open to those opportunities.” Lime Green Look for Subscriber Benefits coming to Subscribers Only via links in upcoming e- Aqua Blue mails from Glass Art. This Bonus Content will include additional information on Michael Dupille’s 2013 Washington State Arts Commission Percent for Arts Project, Blue Ribbon Sky Blue Livin’, for Valley Elementary and Middle School in Valley, Washington. Cobalt Blue

Frit Sample Sets Available Each set contains one 0.5 oz packet of each of our new frit colors plus black and clear (coated RB). Sets are available in both 90 & 96 COE.

Michael Dupille [email protected] www.michaeldupille.com 16813 Radholme Ct., Bldg. B Round Rock, TX 48664 1-800-268-6163 Joey viewing Michael Dupille’s Flicker, flicker head in kiln 512-246-1122 (phone) formed glass, 36" x 48", 2011. Photo from the 512-246-1133 (fax) opening reception of Feathers; the Spokes of Flight [email protected] exhibit at the Seattle Audubon center, 2012. © Copyright 2014 by Glass Art. www.dichro.com All rights reserved.

www.GlassArtMagazine.com Glass Art TM • March/April 2014 • 31 Marketing Taking the Leap to Selling in Galleries and Boutiques

Jewelry by Tanya Veit by Mark Veit

ot a week goes by that I don’t hear a glass artist say, “If I only Finding the Appropriate Representative Nhad the time, I would love to make a living with my glass art.” Another way to get your glass art in front of store own- Typically that phrase is uttered while a glass artist is finishing up a ers is to hire a commission-based sales representative. You class or studio time, and they see the beautiful fruits of their labor will have to pay close attention to your pricing structure and the potential for so much more. They have a love for glass art, if you choose this route, but when applied correctly, a they have a willingness to expand their knowledge of it, and most good commission-based sales rep can help you spread importantly, they have a passion for glass art. Wouldn’t it be great the word about your glass art like wild fire. A standard if they could put these traits to work and build their own glass commission for a commission-only rep is 15 percent. art business? This is happening more and more, and I don’t think Be sure to have a written contract outlining the specif- anything could be better. Glass artists are learning both sides of the ics and be sure the sales rep understands how many business, and by educating themselves, hobbies are being turned sales/accounts you expect and the exact deadline into full-blown businesses. There is definitely momentum in the date. You might go through a few sales reps before glass art world, and there is a place for your work on the shelves you find the right one, but when you do, you will see of boutiques and galleries. an increase in sales. If you are not keen on hiring a sales representa- Getting Started tive, get out there and do it yourself. Tanya did, and I would like to share some methods and she cultivated some of the best business relationships ideas that Tanya Veit, my business partner because of it. This is where you can really take your time and well-known glass artist and educator, and research the boutiques and galleries you visit. Be sure has used to sell her jewelry in over 100 to visit them anonymously before speaking with any buyers. You boutiques and galleries across the coun- should be comfortable in the environment of the boutique or galley. try. Whether you currently run your own Make sure the sales people are attentive and willing to help. After business and are trying to get into more all, you want this to be a lucrative relationship for both you and the boutiques or you are testing the waters to shop owner, so a good sales staff is very important. see if this is something you want to pursue, After you have found a boutique that you are comfortable with, these tactics will put you in a position to make make an appointment with the owner or buyer, often the same an educated decision by speaking directly with person. Tanya learned that the best days to contact the owners are boutique owners. Wednesdays and Thursday’s later in the day. Owners tend to be If getting in front of store buyers is your goal, focus on juried busier on Mondays and Tuesdays and are more fine art shows as opposed to craft shows. There is nothing wrong apt to give you their time and attention later in with selling at a craft show, but store buyers are more likely to attend the week. When you speak with buyers, let the juried shows. They know that those artists have gone through a them know you make a product that will screening process and are most likely to deal on a wholesale basis. sell very well in their store, then show Anytime you are selling at one of these shows, be sure to have it to them. a few packets containing all of your information, including your Let buyers know that you have price structure. If any store buyers show an interest, they will ap- been in their store before and have preciate a concise packet that they can easily take with them. They researched their business a bit. If may also want to take notes while speaking with you. It is a great you can make a connection with way to show your professionalism and make a great first impression buyers and show them you are on potential clients. taking the time to research their It is important that you find the right shops to work with, since business, they will realize you are your goal is to build a lasting relationship full of reorders. Be sure a serious salesperson and willing to to ask potential clients any questions that are important to you. go above and beyond to sell a great Being able to work well together with your clients is essential and product. Any shop owner will take notice will save you headaches, as well as time and money, down the road. of that initiative and realize

32 • Glass Art TM • March/April 2014 www.GlassArtMagazine.com you are a positive person to do business with. If you think the color of paint on the walls goes well with your glass art, be sure to point that out. If you sell glass art that is location specific, point out what a great fit it will be in that particular boutique. On the other hand, if you can’t find anything in the boutique that complements your glass art or if something made you uncomfortable, move on. It’s not for you. Not every boutique will be a good fit. Don’t get hung up on any one location. There is always another one out there. Mark Veit currently owns and operates www.aaeglass,com along Trade Show Pointers with partners Tanya and John Veit. While the above examples are relatively inexpensive, purchas- They create enamel waterslide de- ing a booth at a wholesale tradeshow is not. However, by attending cals for glass artists and sell them a well-recognized wholesale tradeshow, Tanya was able to obtain on their website along with unique dozens of new and established boutique and gallery accounts. I silver settings for glass. They also wholesale their fused wouldn’t recommend purchasing a booth at a wholesale show glass jewelry to galleries and boutiques. unless you are prepared to meet the demand that will Constantly attending workshops, seminars, and be generated. The national shows draw thousands of classes with master artisans helps Veit and buyers from across the country, so it is important to his partners evolve their work and makes it be prepared and professional. Be sure to have your possible for them to offer glass and jewelry best work on hand as well as ideas and concepts artists a unique medium to maximize their of future work. sales. Visit www.aaeglass.com or e-mail The worst thing you can do is overcommit to [email protected] for more information. these new accounts and promise your buyers the world. Then six weeks later when they call you looking for their order and you haven’t had a chance to even start it because you have been working on other orders, you will lose the business relationship © Copyright 2014 by Glass Art. before it ever has a chance to grow. Be honest and give All rights Reserved. your buyers a realistic time line. If buyers know the product won’t be ready for six weeks, they can work around that. In fact, they will appreciate that. The last thing a shop owner wants is a surprise. Another perk Tanya offered that always made her buyers feel comfortable was a guarantee to swap out pieces that didn’t sell in six months. She only had to do this a couple times, but shop owners felt comfortable knowing that they could swap out older merchandise for the same priced new merchandise if it didn’t sell. The items you swap out after six months may be a better fit at another location. In reality, all you are doing is moving your inventory around, and it doesn’t cost you very much to do so. The particular trade show she participated in also had a website that helped reach galleries and boutiques across the country, even if the buyers couldn’t make the physical trade show. It is yet another online presence that will open your work up to thousands of potential buyers.

Planning for the Future After much trial and error, Tanya discovered these were the most effective routes to getting her glass art into various boutiques and galleries across the country. All glass artists are at a different point in their careers, and some may not be able to devote as much time to their art this year as they will be able to in three or four years. That doesn’t mean you can’t start exploring some of those options now. When you are out shopping, imagine you are looking for the perfect place to sell your glass art. Take note of the boutique and gallery layouts as well as your impression of the staff. When the time does come to expand your business, you will have a solid base on which to start, and you will be well on your way to building a very strong foundation for your small business. 1732 Wright Ave, Richmond CA (800) 227-1780 [email protected]

www.GlassArtMagazine.com Glass Art TM • March/April 2014 • 33 Retailer Profile Prism GlassWorks, Ltd.

by Colleen Bryan

haron Carothers may have come to art glass retailing on April Fool’s Day 2000, but the proprietor of Prism SGlassWorks, Ltd. is no fool when it comes to business. During the late 1990s, Carothers found herself in an economic downturn earning too much money. She was a district sales manager for an irrigation company that was shedding engineers, spec managers, and sales personnel. “As I traveled my ten-state territory, I stumbled onto a stained glass store and decided a weekend class would be just the diversion to help me feel better. I’d spent a 30-year career in irrigation contracting, wholesaling, manufacturing, and sales, but that class rekindled my lifelong interest in art.” Within a couple of years, the previous owner decided to sell, and Carothers was first in line to buy the store. Working in glass was the perfect combination of art, science, and engineering, and drew upon existing skills with sales, sketching, and drawing. Beyond these readily transferable skills, Carothers’ experience gave her per- A client came in with a small enamel pendant that spective on the tumult that would unfold during her first was worn by her pastor for many years and wanted a decade in her new industry and a longer view from which semitransparent glass panel to exactly replicate the to consider what structural changes might be important to pendant for her new front door. It took five firings to the glass industry as it moves beyond its current constric- get the 11" x 12" project the way she wanted it. tion to reinvent itself for a new era.

Changeable Space Carothers’ Prism GlassWorks stands in historic downtown Maumee, Ohio, a suburb of Toledo just south of Detroit. The store is situated near the intersection of I-75 and the 80-90 E/W turnpike. The Challenge of Transformation The 20-foot-wide, shotgun-style building sits just off the main road Carothers bought her store from a lovely woman who had pur- in town. chased it for her son. “The son had built a reputation as an artist The store itself is divided into three segments. A front room is who made really nice commission work, but he was not interested 28 feet deep and originally served as a gallery, but as demand grew in running a business. In two years, the prior owner had built a for a larger variety of glass, Carothers installed racks of supplies in mailing list of 300 people.” The sale encompassed the inventory, the center with glass racks lining the walls. The middle section of tables, an old kiln, and the name. the store is also lined with glass racks and contains more supplies Carothers quickly realized that she could neither simply take and four worktables. Currently, the back room houses four kilns, over her predecessor’s business plan nor afford to sit around mak- class supplies, overstock, larger format glass sheets, and a small ing stained glass all day. She would have to shift the store’s profile office/work area. “We tell all of our visitors that we are an open from that of a commission-based studio to a real supply center with studio, and they are welcome to wander through and see what we lots of classes and resources. “Selling materials and supplies earns are working on. a craftsperson the ability to make her own commission work.” “Mine is a destination store, and most of the traffic comes in The new retailer also recognized that she was underfunded with a need for raw materials, supplies, or information about com- and lacked enough inventory to satisfy the needs of her market. mission projects. We keep the windows and the tops of all the racks The initial years were a steep climb. “Customers come in the door filled with finished projects and examples of stained, mosaic, and wanting what they want and wanting it now. It didn’t take long to fused glasswork. Our walls are covered with examples of class realize my predicament, and I spent the first four years reinvesting projects and signage.” every penny to tweak and raise inventory levels.”

34 • Glass Art TM • March/April 2014 www.GlassArtMagazine.com Sharon Carothers, fused mosaic-style dish.

Carothers working with Anna in class.

When the Economy Tanks When the economy took a nose dive, what had been a steep climb became treacherous. Carothers felt as though she was navi- gating slippery shale in the midst of a storm. Maumee consisted of auto-related, blue collar ancillary manufacturers attending the auto industry. When the economy tanked, it lost a huge portion of its glass market. Most of Carothers’ competitors have gone out of business in the last six years. “When I bought my store, there were five retailers in Northwest Ohio selling stained and fused glass supplies. My last competitor liquidated a year and a half ago. Now I am the only teaching supplier within a 90-mile radius.” Carothers’ voice carries Sharon Carothers painting with Unique more sorrow than triumph as she considers her singular status. “It is Glass Colors’ Black MUD on a white glass tile. not a good thing. Competitors are your best asset. The larger group creates a buzz, broadens the circle of influence, and generates more customers for everyone. That process grew the market for all of us, Adapting to Lean Times as well as for glass distributors and the manufacturers. Shrinking During the first few years of ownership while the bulk of Caroth- profit margins forced some of the stores to close, and others weren’t ers’ business was in stained glass commissions and repairs, teach- diversified enough to make it through the tough times. My best ing stained glass classes, and selling supplies, she actively taught competitor was fifteen minutes away from me, and she just got herself kiln forming and built up an inventory of fusible glass. She tired of fighting the battle. There is a bit of make-and-take fusing bought some decent kilns and started teaching fusing just before out there, but not much professional fusing education is happening. 9/11. Her diligence proved propitious as, at about that time, the The Toledo Art Museum taught fusing and stained glass for a while bottom dropped out of the demand for stained glass. “As the local but eventually dropped the classes.” construction industry disappeared, so did all of my commission Customers coming into the store reverberated with the gale as work. We lost enrollment for our stained glass class and associated well. Carothers had been conducting almost all professional classes retail sales. For several years I literally only bought fusing glass. before the economic collapse, but in its depths she found that she Having diversified early into teaching fusing allowed me to establish could not fill a class that was more than three hours long. “People a new market and ride out the rough economy.” were busy and stressed. I had formerly financially secure customers Carothers maintains an inventory of prospective class offerings who were now paying for two kids in college when they learned their that have evolved in the thirteen years she has owned her store. husbands had lost big jobs. They were juggling huge mortgages and That inventory allows her to adapt to shifting economic cycles and caring for grandchildren. Suddenly, they couldn’t afford to come to trends. The range includes beginning through advanced classes plus multiweek classes. They could commit to a one- or two-hour class make-and-take and just-for-fun sessions. It is heavy on stained glass, for fun, but they couldn’t commit to longer. It was a big comeup- fusing, and mosaics. “We have hundreds of prospective classes and pance for all of us.” schedule six to eight each month. We also try to add at least one Carothers’ experience as a district manager for a wholesaler had new class a month to keep up with our high-energy clientele. We trained her to scan the horizon, listen closely to undercurrents, and ap- keep a two-month rolling calendar and use Constant Contact and ply what she learned to the daily decisions for her retail store. So she our website to publicize them to existing clients. Our mailing list changed her product offerings to better fit what her customers needed. has grown to more than 3,000.”

www.GlassArtMagazine.com Glass Art TM • March/April 2014 • 35 Sharon Carothers, large fused platter stipple painted with GLASSLINE Staff Member Melissa Thomas re-interpreted New student Cathy loved the fused Paints and a stenciled sgraffito process. the Stained Glass News pattern into a fusing tree she made in class so much that project using System 96® chord, dichroic glass, she went home and made more. Prism and Vitrea paints. Everyone wanted to know GlassWorks rents kiln time, and these how she did it. will make great gifts.

As a member of the “feet on the street” brigade, the search for new ways to diversify is never over, whether that relates to materials, At her granddaughter’s urging, Carothers built her own website expertise, classes, or pricing. During the downturn, Carothers pur- and pays a modest monthly service fee to a Web hosting service. She posefully scaled back the size of class projects to make them more typically republishes the site at least once a month when uploading affordable and attractive to students who would otherwise be priced the latest e-mail communication. It can link through Facebook to out of the market. She found that many people were interested in a larger audience. repurposing materials for budget-friendly creative projects. “I used “I believe the website helped me survive. I do very little print to support my love of teaching glass and my creative commission advertising anymore, with only an occasional bit of targeted ads in projects by making a fair margin on the products I sold. But as the the Neighborhood Buzz art book.” recession hit, it was clear to me that a little reinvention was in order.” Carothers negotiates rates for everything as a standard way of doing business. “Just because someone says it costs $300 a seg- A Formal Marketing Program ment to get an ad on the Dr. Oz show doesn’t mean that is really a Without a doubt, word of mouth is the single most important firm price. I find that everything from telephone and Internet fees marketing tool at Prism GlassWorks. “The old adage that customer to credit card processing and checking account fees are all open to service should always come first is as true today as in the past.” But negotiation.” Carothers also uses paid advertising. What began as simple ads in newspapers has matured into a formal marketing program including Evidence of Turnaround monthly e-mails to current customers, a website listing classes and Fortunately, the hobbled economy is resolving, and Carothers describing products and services, some glossy advertising targeted sees tangible evidence of turnaround both in the larger community to the art market, and the occasional TV commercial. and in the level and breadth of demand at her store. “Some of the Unlike many of her retail counterparts in other regions, Caroth- factories are now rehiring, new businesses are emerging, and we ers continues to find paid advertising a worthwhile expense, even are transmuting into a different kind of Maumee and Toledo. Things through the economic trough. “The best formal advertising in my are not the same as they were before, but we are healing.” Carothers market is television. I can get reasonable TV fees without long-term now sees more traffic in the store without the need to run specific contracts, so I run an ad for three months once every couple of years. television advertising. Old customers from seven to ten years ago We really see an uptick in store traffic when they are on the air.” are returning. New retirees are coming in looking for a new hobby. Occasionally local businesses get together through the Chamber Markedly, Prism GlassWorks is seeing a resurgence of interest of Commerce and sponsor mini-ads grouped together. Each ad lasts in beginning stained glass classes. “Three years ago we didn’t even eight seconds and is broadcast in a 150-mile radius. Carothers’ cur- offer any. Last year we offered a couple, but they were not quite full. rent customer base is concentrated within 90 to 100 miles. “The This year we held five rounds of beginning stained glass, and all popularity of current shows greatly affects the cost per minute. have been full. We have a waiting list to fill my class in January.” Morning TV ads on NBC and the Today Show seem the best values Carothers does not schedule any new stained glass classes between in this market. I can’t afford prime time. HGTV would be great, but mid-October and January, while she concentrates on shorter classes they are really expensive so I haven’t pursued those.” and school commitments.

36 • Glass Art TM • March/April 2014 www.GlassArtMagazine.com From Journey – Carnivale by Beth Williams You’ve got the passion, the photography by Steve Gyurina drive, and the dreams ...

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www.GlassArtMagazine.com Glass Art TM • March/April 2014 • 37 Correspondingly, glass retail is rising and demand is shifting again. “Right now, my glass retail is about evenly divided between stained and fused glass.” There is no specific demographic among customers for supplies. Carothers attributes that fact to an inventory and classes that address a wide spectrum of glass media and processes. While glassblowing is one form of glass art she does not teach, Prism GlassWorks stocks compatible colors and frits and sees quite a few of the local glassblowers coming into the store. Commission work has also picked up. Last year, the retail-to-studio ratio was 70 percent to 30 percent, but Carothers sees the studio share growing again. “I did a decent-sized commission project every six weeks for the first few years. When the construction industry disappeared, original commissions and the secondary repair sector did also. For the past ~built by artisans for artisans ~ three years, we’ve had almost no commission work. This year, we’ve had five projects. I am definitely seeing an uptick in all the segments of the industry that I address. Now I’m Turn your scraps into glass art with a seeing more balance than in a long time. Our advanced and professional classes are nearly Master Artisan SCREEN MELT SYSTEM on par with our beginning classes, and I’m glad to have a repertoire of make-and-take classes as fill-ins.” Still, Carothers’ business has not returned to pre-2005 levels. Her workforce provides one measure of that gap. She previously kept three and a half employees busy at all times. As of October 2013, she employs two people full-time along with two on-call teachers. At current rates of growth, she anticipates it will take another two or three years to return to where she was eight years ago. Taking an assessment of her status and her future, Carothers welcomes the opportunity to stretch and grow again. “I see myself morphing into a different kind of retailer than I have been. I believe there will be a resurgence of some of the traditional stained glass classes. I intend to watch the glass industry and work to become even more a part of it. The Retailers of Art Glass and Supplies Association (RAGS) works hard to share information and create a community of peers who care about each other and the industry. Membership is a great advantage to a retailer.” Most clearly, though, Carothers is committed to staying in art glass. The passion and love of the medium that fueled and strengthened her through the last storm will draw others Make matching stands for your projects using who share her enthusiasm. She is looking forward to many more good years in the craft. Master Artisan REVERSIBLE MOLDS

Look for Subscriber Benefits coming to Subscribers Only via links in upcoming e-mails from Glass Art. This Bonus Content will include Sharon Carothers’ powerful arguments for strengthening the three-tiered distribution system as manufacturers, distributors, and retailers work together to support resurgence of the art glass industry. She will also share her silver bullet for countering the challenge of online e-tailers.

Sharon Carothers, Greek Key fused vessel, 12" x 12", created for an art publication.

Master Artisan products are available from many wholesale distributors and will be exibited by Victorian Art Glass at GlassCraft & Bead Expo Las Vegas.

Visit our website to view examples of different projects you can create with Master Artisan tools and molds. Sharon Carothers, Owner Master Artisan Products 566 David Street. Prism GlassWorks, Ltd. Victoria BC V8T 2C8 102 W. Wayne Street Tel: 250-382-9554 Fax: 250-382-9552 Maumee, Ohio 43537 419-897-4100 [email protected] www.masterartisanproducts.com www.prismglassworks.net © Copyright 2014 by Glass Art. All rights reserved.

38 • Glass Art TM • March/April 2014 www.GlassArtMagazine.com Your

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www.GlassArtMagazine.com Glass Art TM • March/April 2014 • 39 Art Glass Studio Profile

�unflower Glass Studio by Colleen Bryan A Study in Fluidity aren and Geoff Caldwell are in the window business, but their “It is a pretty but expensive place to live,” Karen reports. An hour success relies on keeping things fluid in an endlessly changing from Philadelphia, Pennsylvania, and two hours from New York, Kmarketplace. Their small business has had to respond to trends as far New York, the studio is highly accessible to large markets that can reaching as competition from mass producers of glass art in Asia, generally still afford to purchase artwork and crafts. Even so, in the shifting patterns of religious affiliation, supply side shortages, and wake of the recent great recession, she notices that customers are economic cycles. Starting as part of a nationwide revival in hand- much more careful with their spending, re-evaluating where they crafted beveled glass in 1978, the couple has extended glassmaking want to spend money rather than just opening their wallets. techniques, diversified products, and changed distribution strategies The local tourist maps bring seasonal rounds of out-of-towners to adapt to changing markets. to stop at the studio. Sunflower Glass Studio is part of the Covered The business the Caldwells run today still has windows at its Bridge Artisans, a local crafts group that advertises throughout the core, but they have come away from “just bevels.” A new line of region. Advertising is an essential expense item that would not oth- botanical subjects combines stained, beveled, and fused glass, and erwise fit into the Caldwells’ budget. The crafts group has sponsored tabletop items complement the windows that remain the heart of a weekend studio tour for the past 19 years. Those opportunities and the Caldwell’s work. the regional craft shows garner critical exposure for the individual artists. The studio Blessed Proximity itself maintains a Constant Contact mail- Sunflower Glass Studio is located in ing list with about 1,500 names. Caldwell Stockton, New Jersey, a rural area that sends out electronic fliers for each new burrows into soft rolling hills that drop event or to herald a new window. Facebook down into the Delaware River Valley. The also provides a useful means of staying studio is in the middle of a tourist region connected with clientele. In the past three that includes New Hope, Pennsylvania, and years, Caldwell has seen marketing value Lambertville, New Jersey, plus a profusion from physically moving herself out of the of bed-and-breakfast offerings. Communi- studio and into the heightened visibility of ties in the region are connected through craft shows. art, culture, historic landmarks, and idyllic scenery. Upended The Caldwells purchased an old stone The relative proportion of Sunflower house on a property across the driveway Karen Caldwell, Bleeding Hearts in the Meadow, Glass Studio’s business devoted to custom, from a 3,200-square-foot building where fused glass botanical, stained and beveled glass wholesale, and retail lines of business has they set up a studio. The proximity of home borders, 16" x 19", 2013. changed significantly over the past decade. and business was a blessing as they raised Previously, each accounted for about one their family. third of receipts. A solid backlog of work kept the Caldwells busy. There are four separate bays in the shop. Visitors walk into a “We moved from one project to the next, creating windows for permanent gallery space, behind which are crates of sheet glass. clients, making tabletop items for wholesale release, and doing a Another bay serves for cleaning and finishing product. A work bay lot of work with churches and sacred spaces to keep workload and houses beveling and grinding machines and layout tables. Just be- cash flow in balance.” yond that space, fused glass products and work areas are segregated With the recession, overall receipts dropped, wholesale dipped from any contact with the stained glass process or products. Beyond to 20 percent of what remained, and church work dried up. “I’ve the fused glass section, Karen works at a drafting table. The back made windows for 15 community churches in the past three decades. bay on the far side of the shop has soldering benches, kilns, and My last church project started in 2000, and I just completed my last more layout worktables. The Caldwells and their part-time finisher possible new window for them. I don’t have any new church work on generally work alone in the studio. the horizon.” This experience parallels the corresponding nationwide

40 • Glass Art TM • March/April 2014 www.GlassArtMagazine.com Karen Caldwell, Summer, fused frit and powder botanicals, hand-painted insects and jeweled Confetti border, 16" x 23", 2013.

phenomenon of mainstream churches shedding membership. As the larger trend hit Sunflower Glass Studio, fewer people sought out repair or restoration projects, big or small. As new orders dropped, Caldwell had to figure out how to adapt. She started revising the studio’s business plan to increase exposure. The weaker wholesale market created particular pressure to rework the studio’s distribution strategy. Large annual wholesale shows feed artwork to galleries across the country with minimal contact required from individual artists. These shows had been Caldwell’s mainstay during her child-rearing years, but became seriously less viable in recent years. “I don’t know where the American craft gallery market is going, but it is obviously strug- gling. Galleries have yet to climb out of the recession. Our labor on custom work is too high for me to set a wholesale price point on it. As a result, I don’t tend to put my newest and best work in galleries. People still love to buy the small beveled boxes that I’ve been making for 30 years, and those are the kinds of items that can stand up to gallery markup.” Caldwell now takes her show on the road to top-tier craft shows within easy travel of her home. She attempts to do one or two shows per month except for April and June and concentrates her participation in four shows during October at the beginning of the holiday gift-buying season. “During the past two or three years, I’ve done Karen Caldwell, Asymmetrical Acanthus Leaf a lot of regional craft shows and am slowly rebuilding a following. Motif, hand-beveled glass on opal glass background, 20" x 26", 2003. Private residence. This past year I exhibited at 20 shows.” At each, she takes a couple

www.GlassArtMagazine.com Glass Art TM • March/April 2014 • 41 Karen Caldwell, Everlasting Spring, 36" x 54, 2008. Stained glass Karen Caldwell, Edge of the Meadow, fused window for the Chapel at glass botanicals, hand-painted animals, and Hunterdon Medical Center, jeweled Confetti border, 24" x 24", 2012. New Jersey.

of showpiece windows, dozens of smaller panels, and a tabletop Despite the difficulties imposed by the recession, Caldwell of fused glass platters, beveled candleholders, and small boxes to credits it with spurring her artistic growth. “If I had not had to stock a booth. Pieces that are acknowledged for their skill level or struggle along with everyone else during the recession, I might not as a new direction in her artwork line the upper half of two walls of have pulled myself into fusing. We work to make products that do the booth. She has developed some favorite shows and feels herself not resemble imports and avoid working from patterns or copying moving into “wonderful new territory.” Retail rose to 45 percent others’ work. I’ve moved to fused glass botanicals, using fresh new of receipts in 2013 as a result of her new attention to craft shows. techniques and producing things you can’t buy out of a catalogue. Custom work, too, has strengthened, both in real dollar terms Translating ideas through your own spirit and ability is important and as a share of total receipts. Beyond on-site sales, the craft shows for an artist. I am thankful that I was forced to reach out to find new generate new custom orders as visitors see Caldwell’s talent and ways of working in glass to meet the economic and competitive start thinking about places they could envision a new window. “I’m challenges that faced me.” getting custom jobs in Boston, Baltimore, and New York City because of my travels with these shows.” At this point, the Caldwells’ A New Body of Work business once again has a comfortable backlog of custom jobs in The style of the Caldwells’ work tends toward the traditional with the wings. a heavy emphasis on custom beveling. Karen designs for the studio, Undeniably, the craft show route is physically taxing. Caldwell specializing in a proliferation of curlicues, pencil point beveling, and is grateful that nearness to many strong shows means she rarely has small complicated motifs. Many of her designs feature botanicals. to fly or be gone overnight. Even so, it is difficult to come home and “I’ve always collected botanical prints, and I enjoy trying to capture jump immediately into designing or fabricating to fill orders. Most flowers, bugs, and butterflies as accurately as possible.” of the clients for custom windows purchase one-off projects, but Geoff labors in the studio building custom windows while Karen that does not necessarily equate to fleeting relationships. The craft works the shows. He makes bevels, cutting the glass by hand, and shows provide the opportunity to bring Caldwell face to face with constructs stained glass windows to Karen’s designs. Five stages her customers. “Doing the shows is a lot of work, but the relation- of grinding and polishing are required to produce each clear glass ships and friendships with fellow crafters and returning customers bevel, but making their own permits the Caldwells to fit tiny spaces is also very rewarding. It is lovely to meet new brides who know with more sharply focused, prismatic, and elaborate beveling than me as the maker of a treasured wedding gift they received.” they could make with cheaper imported bevels.

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www.GlassArtMagazine.com Glass Art TM • March/April 2014 • 43 About five years ago, Karen introduced fused glass into her designs to good effect. “Fused glass brought fresh air to a 30-year-old business. It allowed me to start exploring new avenues and possibilities.” Caldwell’s new windows incorporate fused glass botanicals in traditional stained glass windows. “Fusing allows me to address more delicate species like ferns, bleeding hearts, and other delicate flowers in much more intricate detail than we could achieve with cutting alone. Taking up fusing was one of my best moves as an artist.”

At the Worktables Geoff recently completed six double-hung windows designed by Karen for a Park Avenue Manhattan apartment in New York City. The windows are rich with hand-beveled glass that requires extensive grinding and polishing. He is also repairing an antique window that a hapless house restorer stepped on in the process of renovation. Fortunately, Caldwell’s studio had enough good antique glass to match it for the repairs. A patchwork series of windows typifies the most recent body of work from Sunflower Glass Studio. Geoff combines hand painting using medieval techniques on antique textured glass, adds dimension through fused glass botanicals, and introduces sparkle with hand beveling. These elements are incorporated into a typical stained glass format to create each window. Caldwell appreciates the opportunity to tell a story or start a conversation about an en- Your vironment through her designs. “In the Edge of the Meadow window, I started the design with a hand-painted owl, then thought about a meadow across the street from my studio and Subscription brought in the species of trees, small animals, and wildflowers that live in it. That window describes the small ecosystem that exists there.” Any Way In her role as designer, Caldwell often engages customers in the storytelling. “I ask people to give me a list of the things or places they love, and I design a window around them.” One window for a Pennsylvania family features lupines, sand dollars, starfish, and You Want it white moss reminiscent of annual family vacations to Maine. “I often get my best ideas from customers with special requests. Working in collaboration with a client, having them be part of the design, allows me to know their likes and dislikes and cements the likeli- • Print hood that they will feel genuinely connected to the end product.” This infinite variety also provides a hedge against global thievery. “When someone steals your design and renders • Digital PDF it in a poorer quality product, it not only reduces your market but also makes your higher quality, higher cost product seem to be overpriced. Artistic thievery is the worst thing that is happening to all of us.” Incorporating client-specific input in her designs helps Caldwell • PDF on CD push the envelope, keep her designs fresh, and meet the challenges posed by international competition.

A glass journal for the flameworking community

Sheila Davis

Karen Caldwell, Ferns and Frit Blossoms (left), fused glass ferns with hand-beveled www.TheFlowMagazine.com and jeweled Confetti borders, 17" x 18", 2012, and Heart-Felt Bevels (right), hand- 800.719.0769 made bevels and jewels, 22" x 28", 1998.

44 • Glass Art TM • March/April 2014 www.GlassArtMagazine.com Caldwell’s next projects include designing a combination of stained and beveled glass in custom architectural stained glass for entryways. “My biggest new development with fused botanical work includes techniques for making goldfinches and chickens with fused glass powders. I am starting work on a couple of commissions that show the birds in their native environ- ments.” In addition to the studio designs, Caldwell also handles cutting and some assembly for the studio’s production lines. Two part-time employees work with her to construct items for wholesale or retail markets. Currently lines include stained glass beveled boxes, candleholders, and fused glass plates. “I am a practical person. I like to make everyday functional objects that are elegant and beautiful.” The employees and Karen work the production lines while Geoff does custom fabrication. She also does the bookkeeping and office paperwork, schedules shows, and manages the work flow in the studio. Caldwell is convinced that the public allure of glass will make it endure as an art form, despite the economic, competitive, and materials challenges for glass artists. “Glasswork just keeps getting more and more interesting. I think glass is like dia- monds; it will be around forever.”

Look for Subscriber Benefits coming to Subscribers Only via links in upcoming e- mails from Glass Art. This Bonus Content will include more about how Karen Caldwell of Sunflower Glass Studio considers recon- More colors, figuring her business plan in response to scheduling changes by the Buyers’ Market of American Craft. more styles, more tools! New product catalog Order or download at bullseyeglass.com/catalog Detail of Summer Window See bullseyeglass.com for a list of dealers in your area. Karen & Geoff Caldwell, Owners Sunflower Glass Studio 877 Sergeantsville Road Stockton, New Jersey 08559 (609) 397‑1535 (Phone) (609) 397‑0660 (Fax) [email protected] sunflowerglassstudio.com

www.GlassArtMagazine.com Glass Art TM • March/April 2014 • 45 Winning Glass

Forty-Four Vessels Exploring the Irish Cylinders of Dale Chihuly

Glass Art Photography by George Erml, Courtesy of the George R. Stroemple Collection

he Museum of Glass, Tacoma, Washington, presents Irish Cylin- ders by Dale Chihuly from the George R. Stroemple Collection, Twhich opened October 26, 2013, and is on view until September 2014. Among the earliest series of Chihuly’s oeuvre are the little known, legendary Irish Cylinders, created in 1975 at the Rhode Island School of Design, begun on St. Patrick’s Day and completed over Thanksgiving weekend. The 44 vessels, loosely categorized as St. Patrick’s Day Cylinders, Irish Cylinders, and the Ulysses Dale Chihuly with Kate Elliott, Cylinders, were inspired by James Joyce’s masterpiece, Ulysses. Seaver Leslie, and Flora C. Mace, Minty and milky, the Irish Cylinders feature glass drawing Irish Cylinder #4, glass, 8‑1/2" x 7", 1975. pick-up techniques similar to Chihuly’s more abstract Blanket Cyl- From the George R. Stroemple Collection, a Stroemple /Stireck Collaboration. inders. The earliest of the series feature shamrocks, Irish flags, mapping diagrams of cairns and burial mounds, and the Irish Museum of Glass Presents “We are incredibly honored to landscape. Later cylinders explore themes Irish Cylinders by Dale Chihuly have the opportunity to share these pertinent to a recounting of occurrences From the George R. Stroemple Collection important works from the history from a single day in Dublin as described An S&S Collaboration of the Studio Glass movement at in Ulysses—the protagonist, Leopold Museum of Glass,” notes Susan Bloom; his wife’s suitor, Blazes Boylan; October 26, 2013—September 1, 2014 Warner, the Museum’s executive and the date, Thursday, June 16, 1904. director. “The pioneering tech- Created by Chihuly, the drawings on the Irish Cylinders were made niques coupled with the depth of artistry exhibited in this series by Kate Elliott, Seaver Leslie, and Flora C. Mace. Chihuly depicted are a glimpse of what was to come for Dale Chihuly and the artists Joyce himself on cylinders number 30 and 31. with whom he collaborated.” The series was briefly exhibited at the Benson Gallery in Bride- hampton, New York, in the summer of 1976, but it was then placed in storage. The complete series of Irish Cylinders has been previously exhibited at the Portland Art Museum in 1997. The Stromple Collection now includes more than 500 objects and is the largest single holding of Chihuly’s work. The exhibition will be open Wednesday through Saturday from 10 a.m. to 5 p.m., the third Thursday of each month from 10 a.m. to 8 p.m., and Sundays from 12 p.m. to 5 p.m. The Store is open Tuesdays from 10 a.m. to 5 p.m. Summer hours from Memorial Day to Labor Day will add Mondays and Tuesdays from 10 a.m. to 5 p.m. Admission is: free for members and for children under 6; $12 general; $10 for seniors, members of the military, and students (13+ with ID); $10 each for groups of 10 or more; and $5 for children ages 6 through 12. Admission is free every third Thursday of the month from 5 p.m. to 8 p.m. Call the Info Line at (253) 284-4750 or (866) 4MUSEUM, or visit www.museumofglass.org for more Dale Chihuly with Kate Elliott, Seaver Leslie, and details. Flora C. Mace, assorted Irish Cylinders with varying dimensions, glass. From the George R. Stroemple © Copyright 2014 by Glass Art. Collection, a Stroemple/Stireck Collaboration. All rights reserved.

46 • Glass Art TM • March/April 2014 www.GlassArtMagazine.com Quality warm & hot glass supplies from a quality-conscious supplier! Choose from thousands of products including: • An expanded line of COE 90 glass including choices from Wissmach and Uroboros

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Look for these January/February 2014 Subscriber Benefits Articles Sign up for our semi-monthly email newsletter and we’ll be happy to send a copy of our CD-rom catalog to you. Loaded with more in E-mails from Glass Art! than just products – you’ll find hundreds of free patterns, Spectrum’s Score mini-magazine, hot glass tips, glass history and MORE! 111 Industrial Parkway www.SunshineGlass.com Toll-free: 800-828-7159 The Timeless Presence of Buffalo NY 14227-2712 [email protected] Benjamin Moore’s Glass A quality-conscious supplier!

Sunflower Glass Studio Re-evaluating a Distribution Strategy Stan dreams big ... Stan thinks big ... Creating Art for Schools Michael Dupille’s Now, Stan can create BIG! Public Commissions

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Prism GlassWorks, Ltd. Supporting Resurgence of the Art Glass Industry

Stan Price, Covenant Art Glass of Everett, Washington, asked Olympic Kilns to create a custom bell Sharon Carothers kiln so that he could create larger commission pieces. Working with Stan, Olympic Kilns designed Prism GlassWorks, Ltd. a 29 cubic foot bell kiln (electronic lifting chamber) with a rollout floor. Stan thinks big, and now he can create big! Learn more about Stan at www.covenantartglass.com. www.GlassArtMagazine.com See what Olympic Kilns can do for you! [email protected] 800.719.0769 Phone 800.241.4400 / 770.967.4009 • www.greatkilns.com 502.222.5631

www.GlassArtMagazine.com Glass Art TM • March/April 2014 • 47 Skills and Techniques Traditional Glass Painting Made Easy Tracing Fundamentals

Design, Fabrication, Text, and Photography by Peter McGrain Tools and Materials Traditional Glass Stainer Colors Water Glass Mixing Palette Palette Knife Glass Tile Tracing Brushes Eyedropper

s we continue our examination of traditional glass painting Atechniques, we will take a closer look at the various ways the variety of glass paints commonly known as Traditional Glass Stainer Colors can be used. As I discussed in my previous article, the Traditional Glass Stainer Colors are the types of vitreous paint that have been used for over a thousand years in the stained glass industry. Although they are rooted in the heritage of ancient glass painting formats, they can also be used in a contemporary context to achieve all sorts of imagery on glass. Kathy Jordan, Woman’s Portrait. In an image like this In a formal sense, Traditional Glass Stainer Colors are tradition- one, a delicate use of tracing leads to a more gentle ally applied in separately fired, built-up layers, using two fundamen- appearance in the finished piece. Using a softer color tal methods, tracing or matting. Tracing involves applying narrow, such as brown also helps the tracing to be subtly ab- sorbed into the shading of the design. opaque lines of paint on the surface of the glass. Matting involves applying the same paint as translucent washes of various colors and values to achieve fields of texture and shading. In this installment I will describe the finer points of tracing.

Design Basics Important Paint Variables It makes sense to examine tracing techniques before expanding When preparing paint for use in tracing, there are two important into the more complex method of matting, since for most painters, variables that need to be taken into account—the “wetness” and the this is the first step in the illustrational glass painting process. As “hardness” of the paint. You can regulate these important charac- with most other art forms, it is usually best to begin an image with teristics in your preparation. a line drawing of some kind that can subsequently be enhanced Begin by placing the amount of dry paint you want to use on with color fields, shading, and texture. In glass painting, this is ac- your glass color mixing palette. Normally a tablespoon or two will complished with the tracing stage. get you going. Remember that you can always mix up more paint Tracing can be accomplished using any of the numerous Tra- as you need it. Usually it’s best to work with freshly mixed pant ditional Glass Stainer Colors. Black and dark shades of brown are whenever possible, even though any unused paint can also be almost commonly used because of their strong, dark appearance. lowed to dry on the palette and saved for later use. When calligraphy, nomenclature, or linear effects are required, it Using the edge of the palette knife, gently chop up any clumps is best for them to be graphically dark so as to stand out as much of paint you may see. In the old days, these paints were often very as possible. In stained glass, these dark visual lines also engage dry and clumpy, and it was necessary to actually use a glass muller with the intrinsic lead lines, which are also seen as absolutely dark (grinding pestle) to achieve a smooth, speck-free paint consistency. lines in the design, lending a cohesive uniformity to the line work Today the paints you buy are very well milled, and unless you are throughout a design. This is not to say that lighter colors of paint involved in very precise restoration type of painting or you’re using cannot also be used for tracing. Often, when a less high-contrast style ancient paints, it is not usually necessary for you to be preoccupied of graphic imagery is desired, artists will use fainter tracing lines to with the mess and hassle of hand mulling them. The knife edge define their drawings. When fully enhanced with follow-up shad- should suffice. ing applications, the fainter lines tend to disappear into the overall Next, carefully spread the dry paint in a flat, round pile that is image, resulting in a more delicate and gentle finished appearance. approximately 1/4" thick. Do not pat down or compress the paint. It’s really up to the artist to decide how aggressive or subtle a role Simply spread it out into a loose, flat layer. This will give you a good the tracing will play in the final imagery. visible “read” of how much paint you are working with.

48 • Glass Art TM • March/April 2014 www.GlassArtMagazine.com Peter McGrain, Bozos in Love. In this fused and painted The objective is to achieve what I like to refer to as a user friendly piece, the tracing lines have a very loose and playful ap- degree of hardness. This results in a paint that spreads nicely over pearance. This gives the work a noticeable painterly look, the glass and, when dry, is hard enough to resist scraping off if the which is difficult to achieve if using only techniques other than traditional glass painting. finished painted work is accidentally touched before it is fired. Use the tip of your dry pallet knife to scoop up a very small amount of dry gum arabic powder. By carefully tapping your index finger on the edge of the blade, you can lightly sprinkle the gum onto your flat pile of paint. Allow a very light dusting of gum, never so thick that you can’t see the base of paint through it, covering maybe 10 percent to 20 percent of the surface of your pile of paint. Very 1 little gum is needed, and most students tend to put way too much in, which is actually still a very small amount. (It is usually best to Add gum arabic err on the soft side, knowing that you can always add a little more binder to the dry gum later if a test shows that your paint is too soft.) After you add paint mix. the gum arabic, gently distribute it throughout the dry paint mix with the palette knife.

Adding the correct amount of gun arabic to the dry mixture 2 is critical. This image shows the approximate amount needed to Begin mixing achieve a user friendly degree of workability. You can always add in the vehicle more if necessary. (the liquid) adding The binder will function as a wetting agent to allow the wet paint water little by little to spread over the surface of the glass without beading up. It will until the desired also lend a “hardness” to the paint, which will affect its workability. degree of wetness Achieving the correct hardness in your paint is crucial, and is achieved. miscalculating the correct amount of gum is probably the biggest mistake that most beginning glass painters make. If you use too little There are lots of vehicle choices, depending on what you are gum arabic, the wet paint may not spread over the glass without specifically doing with your paint. Water is the most popular option, beading up, or even if it does, it may be too “soft” to work with. since it is free and easy to clean up after you are finished. Other If you put too much gum arabic in your paint, it will be too “hard” liquids such as alcohol, turpentine, kerosene, clove oil, and many and, likewise, very difficult to work with and more likely to boil others are also useful for certain specific applications. Mainly, when fired. however, I just use tap water for everything.

www.GlassArtMagazine.com Glass Art TM • March/April 2014 • 49 Begin mixing the paint by using an eyedropper to start a small pool of water adjacent to the pile of paint. Using circular motions, begin introducing dry paint into the water using the palette knife. Continue mixing the paint, adding water until the desired wetness is achieved. If your paint is not wet enough, it will not flow off your brush correctly. Conversely, if it is too wet you’ll get washed DIRECTORY TO out lines. I’d say the perfect wetness for tracing paint would be somewhat comparable to the way very thick cream or an emulsion INDUSTRY SUPPLIES such as Pepto-Bismol flows. Keep mixing the paint on the glass palette until you are sure it is thoroughly mixed and free of any undissolved particles. Keep a eye out for this form coming in the mail in May. Select the 3 appropriate size brush for the project.

Tracing is accomplished using long, narrow quilled tracing brushes, which come in a variety of sizes. Most painters use the #3 oxhair-quilled brush such as the darker blue one seen here, but brushes are also available in sable or other fine material. They hold a fair amount of paint and have just the right amount of flex so as not to leave streaks in the wet paint as it is being applied. Sizes range from very narrow (#1) to quite wide (#9). The #3 size is the best of both extremes. Take advantage of this exceptional opportunity to have You should first test your initial paint mix by filling the brush your company listed in Glass Art Magazine’s 2014–2015 with paint and pulling a few long continuous brushstrokes on a Directory to Industry Supplies. piece of scrap glass. The paint needs to flow freely off the brush Our New Online Directory is linked from our sister publica- in a uniformly opaque line. If your wet paint is beading up on the tions’ websites and is linked to our Glass Art Website. The Direc- glass, you may have dirty glass and/or need to add more gum arabic tory will be part of the September/October 2014 issue and will to the paint. be mailed to Active Buyers who will use this resource to locate First, using a paper towel, vigorously scrub the surface of the and purchase products and services during the next year! You glass using a bit of the wet paint as an abrasive agent. Wipe dry may advertise in the Magazine Directory to Industry Supplies with the towel and try again. If you have good paint consistency but or Online Directory for only $75 or in both the Magazine and still get beading, you may need to add more binder. Just sprinkle the Online Industry Directory for $120. a little more gum into the mix and try again. If your lines appear wishy-washy, the paint is probably too wet and will need a short time to sit to thicken via evaporation of the vehicle. DEADLINE for When your paint has reached the right wetness, apply a few more DIRECTORY LISTING submission: test brushstrokes to the scrap glass and allow them to dry thoroughly. June 28, 2014 Take a larger china bristle stippling brush and gently drag it across the painted line. If the line comes completely off, you have a very Advertising Space soft paint mix that may be a little too delicate to effectively work with. By lightly sprinkling a little more gum arabic into your wet Reservations for September/October 2014 are: palette, you can increase the hardness. Closing If no paint is scratched off, then you have a hard paint mix, which July 20, 2014 may also create difficulties. Ideally, you want a medium hardness in Materials Due: the paint, one that will be recognizable when the dragged stippling brush leaves a series of narrow parallel scratch marks across the July 30, 2014 surface of the dried test line. This degree of hardness will accom- modate gentle handling and manipulating of the painted lines. If Contact you discover that your paint is too soft, simply add more gum arabic Rhonda Sewell or Kathy Gentry at to the mix. If it is too hard, you can try adding more dry paint and (800) 719-0769 Fax: (502) 222-4527 vehicle. Now that your paint is ready, you can begin tracing. E-mail: [email protected]

50 • Glass Art TM • March/April 2014 www.GlassArtMagazine.com 4 glass art Either work from a prepared society design or simply work freestyle. Become a memBer The Glass Art Society is an international non-profit organization founded in 1971. We strive to stimulate communication among artists, educators, students, collectors, gallery and museum personnel, A prepared sketch on paper can help you develop your designs. art critics, manufacturers, and all others interested Composition and placement of forms are most important, since in and involved with the production, technology, specific details will be more effectively developed and accomplished and aesthetics of glass. when actually tracing on the glass. Usually far more time is spent GAS offers many great member benefits including refining a design on paper than is actually spent painting it. four online issues of GASnews per year, access Most painters begin with a line sketch on paper. This is placed to the Member Directory, free classified listings, domestic insurance benefits and much more. first on the light table. The glass elements to be painted on are po- sitioned over the sketch. The painter then traces the line work by join us in chicago following the visible design beneath the glass. It is also fine to just March 19-22, 2014 begin painting without a pattern if you wish. Strengthening Community, Collaboration, The key to tracing is to never apply the paint so thickly that it Forging New Bonds will boil and get scabby when fired. Ideally, you want a smooth, The 43rd annual GAS conference will feature uniform line of paint. Begin by loading the brush with wet paint. prominent and emerging artists from around the Make a quick, short brush stroke on the palette to get rid of the world in demos, lectures, and panels. heavy drop of paint that forms at the brush tip. Dan Dailey, Wonder, 6512 - 23rd Avenue NW Individuals series, 2011 Photo: Bill Truslow Suite 329, Seattle, WA 98117 206.382.1305 Shane Fero, Blue Jay Way, 2011 www.glassart.org Practice 5 Photo: Mary Vogel [email protected] achieving lines of varying widths by increasing or lessening pressure on the brush tip.

This example shows common line quality issues. On the far left, the paint has a nice darkness, but it appears to be beading up on the glass. This could be caused either by a dirty glass surface, paint that is too wet, or not having enough gum arabic in the paint mix. The set of lines that is second from the left looks washed out, the result of tracing with paint that is too wet. Adding more paint to the mix can help to thicken it up. The set of lines that is second from the right appears to have been not wet enough to flow freely from the brush tip, resulting in “starved” trace lines. The remedy is to add more vehicle to the mix. On the far right, the lines are perfect. There is a uniform opaque darkness to the lines, and the edges are sharp. When the lines are dry, they will accept clean and sharp scratch marks when strafed (scratched) with a sharp wooden stick or stiff-quilled stippling brush. As you trace the lines, try to rotate the brush in your fingers as you make your way through tight curves. The use of a bridge or armrest can help ensure steadier brush control. It is also important to avoid applying wet paint over lines that have already dried, as this, too, may lead to flaking during firing.

www.GlassArtMagazine.com Glass Art TM • March/April 2014 • 51 The scratching technique can also be used to add deeper detail and style to the image. When your design is completed, you can While holding 6 place it in the kiln and permanently fire the design into the glass. If the tracing brush in a minimal boiling or flaking does occur in the trace lines after firing, fairly vertical position, simply scrape the blistered area down using the edge of the palette which allows the paint knife and repaint over it in a following firing. Remember, you can to flow freely, begin to always apply more paint to your piece or do tracing “touch-ups” paint the line work, in later firings. But also remember that once it’s fired on, the paint following the pattern cannot be removed. beneath. Tracing paint usually fires at around 1200ºF, right around the slumping temperature of most glass. You want to achieve a satiny Try not to plop the brush down on the glass, but rather make shine to the surface of the paint. If the paint can be scraped off contact with the glass while your brush is already on the move. This after firing, you simply did not fire it at a high enough temperature. will help avoid initially thick areas of paint in the line, which will Overfiring can lead to faded lines. It’s always good to make a probably boil in the kiln. series of tests at 50-degree increments to see exactly which maturing Be sure to pull the line in one continuous stroke. Do not attempt temperature is perfect in your particular kiln. Once your tracing is to go over a line twice. And never use short, “dabby” strokes the fired, you can then move into the next stages of applying matts for way canvas painters often do, since that, too, will lead to uneven texture, shading, and color. paint thickness and an increased chance of boiling. 7

Place the sketch under the glass so you are able to follow the line work of the design with the tracing brush.

Don’t struggle to follow the design too accurately, but rather allow the brushwork to flow smoothly, therefore maintaining a more graceful appearance. Note the fine, dark quality of the line work on the finished tracing.

8 Peter McGrain is an artist, lecturer, and workshop leader who has been working with glass for over 35 years. He has made it his professional mission to introduce as many people as possible to the joys of glass painting. More information about his full line of instructional glass painting videos and supplies as well as numerous photographs of both his and his students’ work can be found at www.petermcgrain.com After the paint has dried, use a and www.facebook.com/PeterMcGrainGlassPainting. sharpened stick or a brush handle You can e-mail the artist at [email protected]. to carefully fix or repair any problem areas in the line work.

52 • Glass Art TM • March/April 2014 www.GlassArtMagazine.com Glass Craft & Bead Expo 2014 Live Demonstration Stage Sponsored by Glass Patterns Quarterly, Glass Art, and The Flow Magazines

Demo Fri. March 28, 2014 11:00 AM David Alcala - The Next Degree in Creative Fusing 12:00 PM Poppy Mussalem - Hang Your Glass 1:00 PM Peggy Pettigrew Stewart - Kiln Forming and Verre Églomisé 2:00 PM Ryan Staub - Hot and Warm Shop Cross Compatibility and Collaboration 3:00 PM Rashan Jones - Lampworking Goblets 4:00 PM Milon Townsend - Sculpting the Human Form 5:00 PM Glass Cutting Contest

Demo Sat. March 29, 2014 11:00 AM Margot Clark - Creating Inlays with Fused Color and MUD 12:00 PM Lisa St. Martin - Victorian Glass Flowers 1:00 PM Carmen Flores Tanis - Playing with Printing: Etched Dichroic Deck of Cards Box 2:00 PM Richard Snyder - Restoring Zinc with Stays Black™ 3:00 PM Boise Art Glass - Filip Vogelpohl - Octopus Demo 4:00 PM Jennifer Walkovich - Stamp it, Fuse it, Slump it! Rashan Jones Demo Sun. March 30, 2014 11:00 AM Dennis Brady - Coldworking Questions and Answers 12:00 PM Auction 1:00 PM Auction 2:00 PM Auction

Lisa St. Martin

Filip Vogelpohl David Alcala

Peggy Pettigrew Stewart

Richard Snyder

Milon Townsend Poppy Mussallem

Margot Clark

Ryan Staub Jennifer Walkovich Dennis Brady Carmen Flores Tanis www.GlassArtMagazine.com Glass Art TM • March/April 2014 • 53 What’s New Glass Expert Webinars™

Glass Craft & Bead Expo will be celebrating its 20th year at the Miss a Webinar? South Point Hotel & Casino during its upcoming show in Las Vegas, Nevada, March 26–30, 2014. Once again, there will be over 250 classes No Problem! offered plus a show floor packed with all of the products, supplies, and You can learn the exciting equipment that you need to create your masterpieces. Attendees will techniques shared by rock South Point’s showroom with the ’80s sensation, Spazmatics, for renowned glass artists a night of fun. The Glass Cutting Contest will also be back by popular demand and will be in our Webinars with our held on the show floor Friday at 5 p.m. There is something for everyone at the Glass Craft Glass Expert Webinars™ & Bead Expo. For more information, please contact Patty. DVDs. The comments below 800‑217‑4527 [email protected] www.glasscraftexpo.com demonstrate the acclaim our Webinars have received from Ed Hoy’s International presents the Gallery Pendant, a no-glue option for jewelry that participants around the world. is interchangeable. The open-topped frame allows artists to change their fused glass in Browse the list to find your favorite artist and start adding new skills to your art glass arsenal today! seconds, creating glass pieces and switching them on a whim. Insert the glass, attach a cord or chain, and you’re done. The sterling silver–plated face provides an elegant border for your glass. The cavity for the square and circular styles is 1" x 1" x 5/16", while the cavity for the rectangular and oval styles is 1" x 1‑1/2" x 1/4". The square and circular faces are interchangeable, so if you want a deeper cavity with a circle frame, just switch the faces. Each pendant features three holes in the bottom for optimal dangling embellishments. Visit Ed Hoy’s website for more information. 800‑323‑5668 www.edhoy.com

Bullseye Gallery is pleased to present Retrospective, a group exhibition that explores the legacy of over three decades of collaborations between artists and a small glass factory in Portland, Oregon. The exhibition is a survey "Can't keep me away from of factory/artist collaborations that have pushed the technical, aesthetic, such masters at work. and conceptual possibilities of kiln formed glass. In 1979 while artist Klaus Thank you for bringing them Moje was visiting Bullseye Glass Co., he encouraged the company to produce into my little workshop.” a palette of compatible glasses for kiln forming. This initial collaboration grew into a fac- “Love your Webinars!!” tory that works with and for artists. Retrospective, which explores these collaborations and their legacy, is on view through March 1, 2014, and includes work by Raphael Cauduro, "Well worth the price of Silvia Levenson, Jessica Loughlin, Klaus Moje, Catharine Newell, Tanja Pak, Narcissus Quagliata, and Richard Whiteley. admission... 503‑227‑0222 thank you so much for all www. bullseyegallery.com the ideas and tricks." D&L Art Glass Supply is excited to present 4" square pieces of Profusion Patterned Dichroic Glass. Artists can choose from a myriad of color and pattern combinations that are available in both 90 and 96 COEs. These great new offerings from D&L are perfect for those wanting to work with this fun accessory glass while staying within a budget. Call or visit the company’s website to learn more. 800‑525‑0940 303‑449‑8737 www.dlartglass.com

The Glass Art Society (GAS) will be hosting a Day of Glass, a free event that is open to the public on Wednesday, March 19, 2014, at various locations throughout the city of Chicago, Illinois. The Day of Glass will www.GlassPatterns.com occur in conjunction with the annual GAS conference, which is taking

54 • Glass Art TM • March/April 2014 www.GlassArtMagazine.com place in Chicago for the first time in its forty-three-year history. The one-day event will include a tour of Chicago’s finest glass art studios including Ignite Glass Studios, Solstice Glass Expert Webinars™ Stained Glass, Chicago Glassworks, and Ed Hoy’s International. There will also be an array of glass exhibitions at Chicago art galleries. Visit the GAS website for more information or to register for the conference. No traveling Required! 206‑382‑2630 www.glassart.org Take your glass creations to a higher level with unique Master Artisan Products introduces the Big Fella Sifter/Sorter tips and techniques from for the serious glass artisan who wants to make frit in serious the glass industry’s leading quantities. This big brother to the company’s regular sorter/sifter instructors. Recently added has five tiers of 12" x 12" x 12" metal trays with varying sizes of DVDs are included in the mesh to sort frit into mosaic, coarse, medium, fine, and powder. following list! 250‑382‑9554 [email protected] www.masterartisanproducts.com Webinar Data DVDs Coatings By Sandberg (CBS) announces the new Mini-Double Splatter Pattern. This now available for: phenomenal new pattern fulfills requests from clients for Dichroic patterns that are tighter • Tanya Veit and smaller. It comes in a variety of exotic colors and is further amplified by double coating the splatter patterns. • Petra Kaiser The result is many beautiful color shifts and layered • David Alcala color combinations that are not found in any other type of patterns. Because the glass is coated on both sides, this • Peggy Pettigrew Stewart pattern is available in clear only. In addition, the color • Margo Clark and combinations vary greatly and will come in a medley of random compositions. CBS is currently offering this pattern in both 90 and 96 COE in Dr. Saulius Jankauskas 4" x 4" squares only. Side-by-side comparison photos of the original Splatter Pattern and • Denny Berkery the new Mini-Double Splatter are on the company’s website for easy reference. 714‑538‑0888 • Cathy Claycomb www.cbs-dichroic.com • Kent Lauer Professional Glass Consultants and EtchMaster are excited to • Lisa St. Martin announce the launch of their new website, PrecutPatterns.com. • Tony Glander After twenty years, the companies’ entire stencil collection is on one website, allowing etching artists to view the various designs and order • Dennis Brady stock sizes right online. Now anyone can order precut stencils even • Jackie Truty without being a Design System member. Members will eventually have special access to locked pages that will give them design updates and • Randy Wardell other special features. Call or visit the website for more details. • Peter McGrain 888-382‑4776 [email protected] www.precutpatterns.com • Milon Townsend • Brent Graber McMow Art Glass Inc. is excited to announce a recent partnership with Bullseye Glass Co. as of February 1, 2014. As a new Bullseye • Joe Porcelli dealer, McMow will now be offering the full line of Bullseye glass and products at competitive prices. In addition, all Bullseye glass and products will be discounted up to 25 percent off year round. McMow’s newly renovated studio now consists of a 10,000-square- foot teaching facility, as well as full service retail and warehouse space. There are also three new certified glass teachers in the studio teaching kiln forming techniques for beginners to novices. The company will continue to expand its teaching capabilities to cater to those wishing to learn the glass arts or perfect their skills. 561‑585‑9011 www.mcmow.com

Diamond Tech has expanded its manufacturing to include art glass chemicals. The new Studio Pro Finishing Compound, Copper and Black Patinas, and Stained Glass Cement are each specially formulated and designed for the glass artist. The Finishing Compound protects against tarnish and ensures a bright, even, durable finish on solder seams, even www.GlassPatterns.com

www.GlassArtMagazine.com Glass Art TM • March/April 2014 • 55 those treated with patina or elec- We can help find the right tool for your work troplating. Formulas for the new copper and black patinas provide a nice finish to leaded solder or lead came and come premixed. The stained glass cement allows glass artists to secure glass tightly to lead with a fast-setting formula that hardens, strengthens, and wa- terproofs leaded glass panels. It’s special formula also has special polymers for pliability. Visit the company’s website to discover all of the features and benefits of these new products. 646‑351‑1591 [email protected] www.diamondtech.com

His Glassworks, Inc. Ed Hoy’s International now has Edge 2000 Riverside Dr, Suite 19 Grip Stand-Offs that are great for flat glass Asheville, NC 28804 USA 828-254-2559 • 800-914-7463 hisglassworks.com

and specially designed for standard thick- nesses of glass art. These stylish stand-offs have openings in which the glass is cradled around the edges and have two options for background glass up to 1/4" and 1/2" thick- nesses. No drilling or adhesive is required. These stand-offs are great for panels that are square or rectangular. The edge grips can be placed two on top and two on the bottom or on every side. They are easy to install with the template on the front of the packaging. 800‑323‑5668 [email protected] www.edhoy.com

Master Artisan Products now has the Frit Monster for glass artisans who would like to make commercial volume frit. The Frit Monster features a monster-sized 6" x6” x 6" steel container with a chisel head that is fitted onto a heavy-duty Angle Stays Black™ smasher. This Lead Shears™ Patina for Zinc configuration al- for Lead Came Artists lows for the use of a pneumatic air hammer to pound frit at turbo speed. No more uneven colors 250‑382‑9554 when you patina zinc [email protected] channel with solder or lead www.masterartisanproducts.com

Available in 4 oz., 8 oz., 16 oz. Send your What’s New information to ALS-V - No tools needed to change blade and studio size 32 oz. bottles Both products available exclusively from 1Glass Impressions 8300 Hidden Valley Road, P.O. Box 69, Westport, KY 40077 1GlassImpressions.com (920) 382-1807 [email protected]

56 • Glass Art TM • March/April 2014 www.GlassArtMagazine.com Readers’ Forum a mailbox, similar to what we see in the article, with glass. Glass Expert Webinars™ And one more similarity— my house, as well, is one Dear Maureen, Our Glass Expert Webinars™ of the first Usonian brick I wanted to send you a note to wish you structures. DVDs are recorded live and a great new year and to thank you once Thank you again for include answers to questions again for your incredible coverage in the interesting and imaginative asked via live chat by Webinar May/June 2013 issue of Glass Art. I have articles. I can always count on handed out many dozens participants. They also include your magazine to inspire of copies of the issue, and all the handouts from the me. And people are I could not possibly have Webinar in PDF format and the still talking about the better media to give to wonderful May/ entire recorded chat from the interested parties. June 2012 article class. I have a few things that Marcie Davis brewing now and feel that wrote about me. I may be on the verge of breaking through from Many thanks, start-up mode to the next Susan Silver Brown level. Your magazine has Cast Glass Sculpture Artist helped me get this far. Thanks again for your interest and support, and Dear Colleen, for stepping up and being the first to cover I wanted to let you know how much I my work. It is publications like yours that appreciated working with you on the profile have given me the greatest hope during the featuring our glass art business, Sunflower most trying times of starting up. I will never Glass Studio. My husband Geoff thinks that forget your kindness. this is the best article written about us in the With Warmest Regards, past 30 years! I am really Jed Malitz looking forward Jed Malitz V2 Studio & Commissions to seeing this in print. Thank you so much for doing such an amazing Visit the “Books, job of capturing CDs, and DVDs” link our essence. in the “Store” section of With warm regards, www.glasspatterns.com Karen Caldwell for more information and Sunflower Glass Studio to purchase these great Data DVDs from Glass Art would like to extend a sincere Glass Patterns Quarterly. Dear Shawn, thank-you to our readers who take the time to let us know how we are doing. Whether I so enjoyed the January/February 2014 it’s to let us know about something that you issue of Glass Art that just came and feel I think we’ve done well or to show us how must write you concerning the Frank Lloyd you think we can improve, we value your Wright article. It’s so ironic because I, input. You can share your opinions by con- too, live in a Frank Lloyd Wright house in tacting us via postal mail, e-mail, or phone. Scottsdale, Arizona. It was originally called the Arthur Pieper Cottage in Paradise Valley Glass Art built in 1952 and is considered to be the first 8300 Hidden Valley Road constructed example of a Usonian automatic Westport, KY 40077 Please note these are data house. My design studio where I create all my figurative cast glass actually looks over [email protected] DVDs to be viewed on the 500 windows of the structure. (800) 719‑0769 (502) 222‑5631 computers and are not The house has been added onto over the The thoughts and feelings expressed for use in DVD players. years, but I think it’s interesting that a glass in the Readers’ Forum do not necessarily artist lives in a Frank Lloyd Wright design. reflect those of the publisher or Glass Art www.GlassPatterns.com In fact, I’m in the process now of building magazine.

www.GlassArtMagazine.com Glass Art TM • March/April 2014 • 57 SGAA News

Featuring the latest from the Stained Glass Association of America

SGAA 105th Annual Summer Conference

The historic Elms Hotel is situated on 16 landscaped acres and is more than 150 years old. enewal and revitalization are on the agenda for the SGAA Conference Committee, and Rthey have created a whole new approach to the Artists’ Retreat at the Elms oldest stained glass conference in the world. June 9–11, 2014 This year, the Conference is an artists’ retreat, Stained Glass and Wine Tour which will be far more hands-on and interactive June 12, 2014 for both artist and business people in the stained Conference Registration $225 glass world. It will work because of the venue—the $25 discount on every extra registration historic Elms Hotel and Spa of Excelsior Springs, Mis- souri. The Elms is a perfect fit and is easily accessible from the Artist Exhibition Kansas City International Airport. The extensive and beautifully There will again be an exhibition this year, open to all stained landscaped grounds surrounding the Elms will be very conducive glass artists. The exhibition theme, The Artist, asks participants to to creating the artistic environment needed for this retreat. define themselves as an artist. Allow the panel you create to express what makes you an artist—a stained glass artist. Push the limits of Creative Resources the glass medium to explore everything that pushes you to work Conference activities include opportunities for creating art and in the art and craft of stained glass. Let the glass, the surface treat- for advancing artistic skills as well as more contemplative programs. ments, the light breaking through tell your artistic story. There will be time for reflection and for the sharing of art and The $50 entry fee allows the artist to select from one of two theory. For our business-minded members, we have included some categories: Painted or Unpainted. There are excellent cash and excellent marketing, business psychology, and technical programs. product prizes for each category. Lectures will include: • Fusing for Stained Glass Windows with Andy Young of Pearl Conference Classes and Tour River Art Glass Stained Glass School Conference Classes will be held in the • Developing Personal Style with Nicholas Parrendo of Hunt Stained mornings during Conference days, June 9–12, from 7 a.m. to Glass Studios 12 p.m. This plan will minimize your time away from your studio • Butterfly Garden Project with Kathy Barnard of Kathy Barnard and enable you to save money by eliminating extra hotel nights. Studio • Bent and Neon Glass Project with Louis Curiel • Committee Psychology with Jim McGraw of Longview College • Symbols in Service of the Church with Richard Gross, MTS, Editor of the Stained Glass Quarterly and Media Director of the Stained Glass Association of America • Creative Marketing with Robert O. Jones • “You Call That Restoration?” with Jerome Durr of Jerome R. Durr Studio • Sacred Spaces – A Collaborative Endeavor Where Art and Archi- tecture Meet with architect Anne Patterson and artist Kathy Barnard The Conference will also include the Annual Sponsor Showcase, life drawing, plein air drawing, artist presentations, Hall of Waters tour, Excelsior Springs Museum tour, The African Queen outdoor Professional models will pose outdoors, creating drawing movie night, a silent auction to benefit the Dorothy L. Maddy sessions that will focus on head, hands, feet, and the forms of Scholarship Fund, and raffles to benefit SGAA Programs. the body through folds of drapery. Sketch by Vivian Faulkner.

58 • Glass Art TM • March/April 2014 www.GlassArtMagazine.com Classes scheduled are: Advanced & Creative Portrait Painting with Jim Berb- Now Available from erich; Restoration Painting with Nicholas Parrendo; Verifix 2K Silicone Lamination the GPQ Website DVDs from Joe Porcelli with Bohle America; An Introduction to Stained Glass Painting with C. Robert Learn Professional Tips for Working with Glass in this DVD Series Markert and Laura Parham; From Concept produced by renowned Artist, Teacher, Author, and Producer to Cartoon with Diane Eissinger; and Pho- Joe Porcelli. toshop/Illustrator for Stained Glass with Benefit from the Experience of Stained, Fused, Bryant Stanton. or Flameworking Professional Glass Artists. Classes will be held in the morning, with the conference presentations and events in the afternoon and evening. These 16 instructional DVDs feature Those not taking classes will be able to Ron Bearer Jr take advantage of the Elm’s spa facility, swimming pools, and area historical walks, Michael Dupille parks, gardens, museums . . . and the list Tommy Giambusso goes on. Molly Heynis The Annual Conference Tour will be optional this year, taking place on June 12, Peter McGrain 2014. We will tour historic St. Joseph, Mis- Joe Porcelli and souri, with all of its incredible Victorian Lisa Vogt mansions. Horse-drawn wagons will take as they share their techniques participants through historic Mount Mora for success in creating with glass. Cemetery and visit an exciting variety of stained glass. We will also sample local wines during our lunch break at Shake- speare Chateau. There will be an additional Visit the “Books, CDs, and DVDs” link under the tour fee of $85 per person. “Store” drop-down at www.glasspatterns.com for more details. Fly into Kansas City, Missouri, and enjoy a week of art and serenity at The Elms. The SGAA shuttle will be in operation for $15 one way, $25 round trip. Parking Complete and WiFi access at the Elms are free. The Fused Fantasies step-by-step SGAA Special room rate is $119 for single/ Books now available from fusing instructions! double and $149 for a three- or four-person Glass Patterns Quarterly suite. Make your reservations for the hotel now by calling (816) 630‑5500, and be sure to visit www.elmshotelandspa.com to learn the incredible story of this historic luxury hotel.

800-719-0769 www.GlassPatterns.com Register for the 2014 Stained Glass As- sociation of America Annual Summer Con- ference and Stained Glass School Classes before January 1, 2014, and earn a chance Do you want to reach new customers? to win a crate of Uroboros “Short Cuts” The answer is simple. (50 square feet of glass) at the Portland 2015 Conference. For more information about this exciting conference or to register online, visit www.stainedglass.org or call the SGAA Headquarters at (800) 438 9581. Advertise in

www.GlassArtMagazine.com Glass Art TM • March/April 2014 • 59 SAMA News

Featuring the latest from the Society of American Mosaic Artists

In Members’ Own Words

Photography by Tim Stassines by Gwyn Kaitis

n response to a blog spot on the Society of American Mosaic Artists (SAMA) Iwebsite, members began discussing why they became SAMA members and what they value in the organization.

“I feel like now I can stand a little taller as an artist,” said new member Brandi Fletcher of Ojai, California. She notes that the networking and building of relationships with other mosaic artists is instrumental in helping her to grow as a relatively new artist.

Carole Choucair Oueijan thought she was the only artist who worked with mosaic as a fine art medium until she found SAMA. Trained at the Institut National des Beaux Arts in Artist Yulia Hanansen teaching glass layering Lebanon, Carole moved to California 23 years ago. A member since techniques at the 2013 conference. 2003, Carole says that she has met many artists who inspire her and other artists who are seeking to prove that mosaic in indeed a fine medium in visual art that needs to be recognized. She is very encouraged to see that many amazing mosaic artists’ work is being included in more museums and galleries than ever before. Carole says, “I encourage every artist to attend SAMA’s events and to volunteer as much as you can. It will nourish your mind and give you a boost all year, inspiring you with fun and pushing you to create wonderful art!”

Cody Abbott of Chicago, Illinois, worked as a gallery manager when a friend who is the operations manager for SAMA persuaded him to assist with a SAMA conference being held in Chicago in 2007. Cody remembers walking into the Mosaic Arts International Exhibition. “Inside the gallery, I was amazed at what mosaics could be and what they meant to people. As the interloper that night, I mixed with the crowd, admired the work, and listened to the pas- Jaqueline Iskander, Carole Choucair Oueijan, sionate discussions happening about the art in the exhibit.” Cody and Jaqueline Sowers catch up at the Mosaic Arts International Artists’ Reception. soon officially joined SAMA as a member and has been an avid volunteer for the organization since attending that first conference. has been an important resource I can draw on to help me create a “Through the workshops, presentation, and organized critiques style unique to me and to develop a cohesive body of work that is that SAMA offers,” says Joan Schwartz of Huntington Woods, recognizable to others.” She mentions that members’ willingness Michigan, “I’ve been able to view other artists’ work and hear how to share techniques and tips makes SAMA one of the most valuable they found their ‘voice.’ This exposure to a wide range of mosaic tools in her mosaic workshop, while every conference adds another styles and techniques has aided me greatly in my own work. SAMA layer to an evolving process that is integral to her artistic growth.

60 • Glass Art TM • March/April 2014 www.GlassArtMagazine.com Canadian member, Margo Anton, re- ported that mosaic art is not a particularly Premium Glass Products, Inc. well-known medium in her country. Op- Can Your Present Supplier portunities for classes were not available at the advanced level she required. As Margo Give You Quality Bevels states, “SAMA opens many doors of op- This Small? portunity for the passionate and interested Actual size artist.” She has found that the SAMA con- of our ference refuels her creative spirit every year. smallest Bevel Another member, Jaqueline Sowers of Midlothian, Virginia, shared: “Believe it or not, when I say I am a mosaicist there We Can Do It … are still people who have no idea what a And a Lot More! mosaic is and ask what they are. SAMA Production, Custom, and Hand Beveling wants to make sure that such questions Mirrored, Tempered, and Insulated Bevels become a thing of the past. Promoting the Specializing in small parts for the Lighting, art of mosaic, be it classical or modern, and Gift, and Stained Glass Industries those who create these works, that’s what SAMA does.” Jaqueline doesn’t believe she Decorative Door Entryways has ever been part of any group as dedicated Art Glass • Commercial Glass or as generous as SAMA. “We support each Mirrors and Showers other, encourage each other, and share our passion for the art of mosaic. SAMA mem- Quality and Service bers are a family.” to the Glass Industry since 1988 1813 Bertrand Dr. • Lafayette, LA 70506 Jenny Perry of Frederick, Oklahoma, (337) 234-1642 • FAX (337) 234-1646 loves the annual conferences so much that 1-800-752-3501 she says it is like “coming home,” while www.premiumglass.com Nikki Sullivan of Moosup, Connecticut, said she returns home from each conference with so much inspiration and material that Our Events Calendar she can’t wait to get into her studio. One of Nikki’s favorite aspects of the conference has gotten is Mosaic Arts International, a juried show too big for the sponsored each year by SAMA in various parts of the country. The next Mosaic Arts magazine we had International will take place at the Williams to move it to the Web. Tower Gallery in Houston, Texas, April 24– May 30, 2014. Also in Houston, more than 500 international artists and arts enthusiasts are expected to attend the American Mosaic Summit, April 30–May 4, 2014.

Keep up with The Society of American Mosaic Artists, the latest in a nonprofit organization of over 1,200 mem- Glass Art! bers, is dedicated to educating, inspiring, and promoting excellence in mosaic arts. Check the SAMA, the largest mosaic arts organization “Community” Go to: in the world, seeks to foster and sustain a section on our www.GlassArtMagazine.com mosaic community where members are en- home page for couraged to explore the full potential of the links to our www.GlassPatterns.com art form. More information about the group newsletters can be found at www.americanmosaics.org. and sign up to www.TheFlowMagazine.com receive future for all the newest workshops

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