WarmGlass.com

really loved it. I initially thought of Guatemalan textiles on a loom.

Bonita (Nita) Crawford wrote:Lisa,

Great job. I'm so glad I bought your pattern bar tray at
WGW. I bought it because I loved it. When you are rich and
famous and commanding high prices, I'll be ever more grateful
I got some of your work when I did!!

Nita

Ha, ha.......you're funny, Nita. I am so glad that you got the tray at WGW and that you love it. I only wish I had gotten to meet you! How did we miss eachother?

Lisa

Lisa,

Your work is spectacular. The minimal red area was such a pleasant surprise. The matte finish enhances the piece and doesn't allow light glare to mask the details inside the glass. As with Chip, I can see many shapes in the glass, both positive and reverse images, so I find myself staring at your glass much longer than with other people's glass just to see what else is in there... and to be honest, I was so drawn into the glass, that I didn't notice the stand.

Great work.

Tony

Lisa, How are you going to paint the stand? Ann

Ann Demko wrote:Lisa, How are you going to paint the stand? Ann

Just my opinion . . . have it powder coated, not painted. Eventually it will get bumped and the paint will scratch, even if you sandblast it first.

Jackie

Ann, eventually I am going to have to find a way to have them powder coated. But for this one, I just got a can of flat black enamel paint for metal. This stand is just a prototype, not for sale. I am using it in a show I have tomorrow to display this one piece as an example of new work.

Lisa

Lisa,

Sorry I missed meeting you at WGW, too. Hope it will happen another
time. In the meantime, keep up your really good work.

Nita

looks like i'm the dissenting voice on this one.

as others have mentioned, the stand doesn't work for me for a few reasons: visually, i dont see it referencing the piece. your work is highly identifiable as Lisa Allen, and the stand is clearly not your invention. but the problems of how many legs it should have, or the scale of the metal stock, and all of those considerations dont strike me as being as important as whether the piece wants to be a flat panel.

i like your PB pieces slumped, adding a third dimension, the implication of curves working off the geometry of the PB slices. it's nice to eyeball a curved form from various angles; as we move by it, it is always changing and in motion visually. that's not true for a panel; they are, for the most part, static.

i could go for seeing some more bending and manipulation of the plane instead of working on the details of what constitutes the right stand. as a sculptural concept, maybe a cast glass base would be a possibility.

i wish i was standing in a room with you, looking at this, and talking about it in person. one-on-one bickering is always fun, and more illuminating.

Bonita (Nita) Crawford wrote:Lisa,

Sorry I missed meeting you at WGW, too. Hope it will happen another
time. In the meantime, keep up your really good work.

Nita

The two of you were in the same room at the same time... how did you miss each other?

Alright, I'll do the introductions: Nita, Lisa. Lisa, Nita.

Tony

Tony,

What a nice surprise. You are great! Thanks for the introduction.

Hi, Lisa, nice to meet you. You're as pretty as I pictured you in my
mind. I'll bet we said Hello at some point.

Nita

Hi again Lisa. Hi again Nita. Nice to see you both again .

Here's perhaps one of those un-swift questions. What is the advantage of using a pattern bar tray, as opposed to daming a pattern bar with kiln furnature? Is there less "crowning" at the top? I assume you still have to line it with fiberpaper or kilnwash the form.
Nikki in beautifully snowy MD