Addressing ideas through process
I address ideas through process. Glass interests me because I can actually utilize light rather than simulate light effects to produce new ways of seeing. Many of my sculptural glass objects evolve from the study of blown forms. Often, those forms begin with the fused panel, allowing for printmaking, drawing, or painting within the glass. Pre-fused or blown glass elements are incorporated within panels that are added to the hot bubble. My work in all forms is about layering. I am interested in a painterly approach in the use of lush colors and their interactions to produce a response on a visceral level. Therefore, both intuitive and rational thinking is hopefully engaged.
At age 60-ish I no longer make didactic work, but hope to illicit a response in work that indicates and continues my work with the universal theme of the passage of time and transience of beauty; part of the life cycle evident in nature. My Grail Variation series is based on the Tarot and that theme, and the abstract is much preferred in this message.
I come from the north; Cleveland, Ohio, and relocated 1,000 miles away in South Alabama where I founded a university glass program. After publishing a book on Glass, “Glass Art From the Kiln,” and being awarded a Fulbright Research Fellowship hosted by the generous people at NamSeoul University, in South Korea, I have set out to dedicate my time to my work and research.
I was asked by the very supportive Mobile Museum of Art director, Deborah Velders to produce a large site specific work based on the Mobile Delta. I feel this work has made the Delta area my home and has opened a new door to creativity. Because of the diversity of the species of the Delta, I felt that I could utilize glass techniques that would work in the design with a range of the very representational, as in the drawings of birds, and frogs, etc. by the use of traditional vitreous (stained glass) painting, to work that is very experimental with stains and metal powders. The use of printed silver stain to develop a variety of layers suggests the complex layering of Spanish Moss. No drawing is evident, just an ethereal patterning. Imagery was added, deleted through engraving and sandblasting, and possibly re-applied in multiple layers through multiple firings.
Large blown pointed forms represent groupings of grasses, and the colors used are those that can be seen in the Delta waterways, represented by the serpentine interaction of fused and slumped glass panels.
The blown forms in the lower foreground have developed in a series called "Southern Gothic " and as figural, represent how individuals are only a small part of the environment, and as they interact, also dominate the ecology. I hope my work leads to the awareness and understanding of the natural gifts of the Delta (an American Eden.) And public acknowledgement in its importance beyond beauty will ultimately insure the necessecity of its preservation for generations to come.