Glass Consultants by Colleen Bryan hose who have any history in glass etching have likely Chicago to use in expressing her art through glass. The Theard of Norm and Ruth Dobbins. For over thirty years culmination of their effort is an exhibition entitled "Chi- they've built a solid reputation teaching techniques and writing cago in Glass." The six-week show opens at the Lew Allen classic instruction books in the field. But while the Dobbinses' Contemporary Gallery in Santa Fe starting in October 2006. interest in teaching etched glass is well recognized, readers Information about the show and future venues in other cities may not be aware of them as glass artists. can be found at www.etchmaster.com/judychicago and at When Ruth and Norm discuss glass, they don't dwell so www.judychicago.com. much on the intrinsic beauty of the material.That's a given, the "Chicago in Glass" considers gestures and the ways that beauty having drawn them to the industry years ago. Rather, physical bodies are enlisted-often without our conscious they talk about chemistry and alchemy, geometry and tensile awareness-to communicate thoughts, ideas, and commands strength. They leverage substantial knowledge of the science through gesture. The show includes cast-glass and sculptured and techniques of glass etching, as well as fusing and slump- hands that have been deeply carved, painted, and refired. ing, in the service of their art. This depth of understanding of Several pieces depict layers of skin, muscle tissue, and bones the physical and transformative properties of glass is a sturdy of the hands as they combine and move in certain gestures foundation for their own artwork and makes them powerful to convey ideas. Some pieces in the exhibit are taken from collaborators with other artists who want to express their own previous projects; one large stained glass piece came from ideas through glass. Chicago's Holocaust project on which she collaborated with Norm and Ruth own Professional Glass Consultants located artist Dorothy Maddy just prior to Maddy's death. But most of in Santa Fe, New Mexico. TWOmajor art commitments, an the objects are developed for this exhibit in close collaboration exhibition and a public works project, currently absorb their with the Dobbins team. attention. The works in the exhibit address similar imagery rendered in two completely different forms of glass. One collection of Judy Chicago Exhibit solid castings depicts life-size and larger hands; another col- The more involved of the two projects is a major col- lection is comprised of flat plates of layered, fused glass or laboration with renowned artist, Judy Chicago. Chicago has crystal-clear plate glass. exhibited fine art in many alternative media in the past includ- If the backstory on the process is any clue, the exhibition ing needlework, textiles, pyrotechnics, porcelain, paper, and itself should be exciting. Much of the work on "Chicago in even a few glass works. But none required the technical glass Glass" has taken place at the edge of what is known about the expertise of her newest concepts. media. "When we started this exploration,we ran into constant The Dobbinses met Judy at a gathering of glass artists north problems with the technology," remembered Ruth. of Santa Fe in 2003. The three were soon talking about their The first year and a half on the project was consumed with philosophies and the challenges of large-scale glass work. The finding answers to technical questions: What is the maturation Dobbinses' backgrounds gave them practical experience and rate for a specific paint and color when used on a specific non- industry contacts with other noted glass artists and the major traditional material? How will the paints adhere to the changed glass manufacturers. Each of these elements was essential to surface texture of a sandblasted sculpture? Is the melting point achieving Chicago's vision. So after examining their collective for a given paint compatible with crystal? With cast glass? philosophies about art and glass, the three artists set out on a Which paint and surface combinations produce the desired long-term collaboration. transparency rather than opacity? Matching paints to get a Norm and Ruth focused on developing an approach for specific color for basic sculptures, minimizing the size and 6 PROFITABLE GLASS OUARTERLY/Fall zoo6 "We fuse our own slabs of glass in mul- tiple layers of different colors throughout the thickness of the piece, stacking colors to make one solid piece of glass in a fused ! ! object," Ruth Dobbins explained. Norm then blasts and carves images through vary- ing depths of glass to effect color changes. Judy paints the pieces and Ruth refires them, sometimes three or four times, to permanently affix the paints. During the first eighteen months, Ruth and Norm devoted themselves to making samples, experimenting with techniques and products, and recording results. Only then could they move ahead with imple- menting Chicago's design. "In our third year of collaboration,we arejinully actually working to interpret imagery within flat and carved pieces," Ruth noted. Norm and Ruth have invested themselves in a long-range new light-rail system that will first connect Albuquerque to collaboration with Judy Chicago, and they see the path as one Santa Fe and then eventually extend to all of the cities in the that others in the glass industry could follow. "More and more Albuquerque-to-Colorado corridor. fine artists will investigate the possibility of working in glass," The initial order for nine light-rail stops is for fifty-four Norm posits. "Given the complexity of the processes, people windscreens to be etched on one-half-inch-thick, five-foot- who are knowledgeable about techniques and committed to by-seven-foot pieces of tempered glass. Well-known Albu- solving problems will be in constant demand." He further querque artist, Chuck Dunbar, created the images. Norm and predicts that as fine artists emerge to work in glass, current Ruth translate them to glass, using etching and photoresist glass artists will be challenged to focus more on art rather than techniques on the largest scale possible. The first leg of the settling for pieces that are simply pretty and decorative. RailRunner project is scheduled for completion by the fall of 2006. RailRunner Windscreen Project Working in a very large scale, dealing with the technical A second large project underway in the Dobbinses' studio challenges of moving heavy glass and aligning complex, is a major project for a New Mexico transportation district. continuous imagery across multiple panels and thirty-five-foot This is one of the "Percent for the Arts" public works projects. stretches-these aspects make the job interesting to Norm The Dobbinses have a commission to etch windscreens for the and Ruth. PROFITABLE GLASS QUARTERLY/Fall zoo6 Acquiring Credentials divested their respective businesses to as Problem Solvers concentrate on teaching glass-working Success in projects of this scope techniques throughout the U.S. and requires more than a simple willingness Europe. They tallied as many as twenty- to take risks and learn from them. Ruth four weeks per year on the road. "We and Norm each built solid and separate guess we've taught between five- and reputations on two continents for their six thousand people from every state glass work during the 1970s and 1980s. in the U.S. and thirty-five countries," Their respective backgrounds give them Norm estimates. They built a world- the credentials to solve problems on the wide reputation as experts on abrasive scale of their recent works. etching. Ruth brings masters degrees in art Eventually, Norm and Ruth decided history and graphics as well as print- to trade the extended travel for an estab- making that she earned from Marshall lished studio space. Both partners re- University in West Virginia. This train- sumed making art along with teaching. ing plus the academic credentials en- They concentrated almost exclusively hance her credibility with the rest of the on etching because of its very good art community. A native of Germany, profit margins and relatively scarce Ruth and three partners established competition. Still, the considerable retail and wholesale supply companies diversity in their work offsets Ruth's in Europe. They sponsored professional propensity to be easily bored. workshops that introduced Europe to American techniques such as copper Anchoring the foil, fusing, and slumping. Ruth also Creative Enterprise launched American opalescent glass As their business interests expanded, from Bullseye and Spectrum in Europe Norm and Ruth split the initial business by using it in her commissions and sell- into several parts. Professional Glass ing it through her retail stores. Consultants developed to house studio, Norm, meanwhile, gravitated to- commission, and consulting work and ward glass etching early in his career. has operated for the past twenty-five After starting a stained glass studio and years. retail store in the early 1970s where In 1999, the couple bought Aliento, he taught himself abrasive etching, he a ten-acre horse property just outside cofounded National Sandblast Systems. the city limits of Santa Fe, moved their This was the first company in the world studio to the facility, and created Aliento dedicated to supplying abrasive etching Glass School, the educational branch of equipment to glass artists. He wrote the business. The school operates from extensively and traveled internationally the 3,500-square-foot,