Amy . . .

[Steve Immerman]

I have to get crackin'! hahahaha

Amy

I'm not sure "crackin" is a good word to use for glass.....

Great new work BTW.

Steve

[Amy Schleif-Mohr]

Yeah I suppose not... How about putting the nose to the sanding belt. hahahaha Ouch!

Amy

[Ann Demko]

I was talking to a wood turner and was told that wood from a holly tree is very very much like ivory in appearance, white with little grain. I agree with Tony, inlaid in ebony a white accent would be awsome and work well with wood. Ann

[PDXBarbara]

The material I have problems with is my favorite, WOOD. For some reason in my mind it just doesn't work with glass, and I'm a woodworker. I can honestly say I've seen very few pieces of glass and wood together that work for me.

Hi Ron... I'm with you on the wood/glass thing. I haven't articulated it before, but I think it has something to do with glass & wood being elemental and sensual opposites. Wood is organic, warm (in a sense) to touch, its very nature exuding it's organic nature & life & history. On elemental and sensual levels, glass shares more with stone and metal. From ways of working the material (metal) to "ingredients" (sand) to the inorganic, cool feel of glass... Idunno... I'm just ravin' on here... but for me glass & metal are cosmic siblings. glass & wood are puzzled strangers.
BB

[PDXBarbara]

Oh yeah, and I've loved your work, Amy, since I first found your website months & months ago....special special special.
BB

[Amy Schleif-Mohr]

Thanks Barbara.

[Brock]

It's excellent work Amy. Have you ever considered teaching?

Nudge, nudge, wink, wink.

Brock

[Tony Smith]

The material I have problems with is my favorite, WOOD. For some reason in my mind it just doesn't work with glass, and I'm a woodworker. I can honestly say I've seen very few pieces of glass and wood together that work for me.

Hi Ron... I'm with you on the wood/glass thing. I haven't articulated it before, but I think it has something to do with glass & wood being elemental and sensual opposites. Wood is organic, warm (in a sense) to touch, its very nature exuding it's organic nature & life & history. On elemental and sensual levels, glass shares more with stone and metal. From ways of working the material (metal) to "ingredients" (sand) to the inorganic, cool feel of glass... Idunno... I'm just ravin' on here... but for me glass & metal are cosmic siblings. glass & wood are puzzled strangers.
BB

What is the feng shui of wood vs glass

I know glass represents water, but what about the wood?

Tony

[Brock]

I think they work well with the glass Amy. There is something about metal and glass that just fit together. There has to be a balance of volume, but the two go with each other in my mind. Stone and glass also work.

The material I have problems with is my favorite, WOOD. For some reason in my mind it just doesn't work with glass, and I'm a woodworker. I can honestly say I've seen very few pieces of glass and wood together that work for me.

In most cases it's the volume of wood needed for support or whatever that overpowers the work. It could also be the grain of wood just conflicts with the glass. Not sure what the problem is, but I'd sure like to solve it.

Frustrated woodworker

Not quite the same thing, but, sandblasted glass, and wood painted a medium gray, go very well together. Brock

[Amy Schleif-Mohr]

It's excellent work Amy. Have you ever considered teaching?

Nudge, nudge, wink, wink.

Brock

Gee Brock, that's something to think about!

Hahaha
Amy

[Ron Coleman]

I was talking to a wood turner and was told that wood from a holly tree is very very much like ivory in appearance, white with little grain. I agree with Tony, inlaid in ebony a white accent would be awsome and work well with wood. Ann

Yes, holly is a very white wood without much grain, also very dense. It works very nicely on the lathe.

Ron

[Claudia Whitten]

Hi Amy,
Love your work!!!!! Making your own stands, that great. There's just no stopping you. I liked your Pendentive series, especially Etienne and Sophie.
I will have to check back when you have some new photos posted. Keep up the good work and energy its working..........Claudia

But then anyone who has the patience to set up a photo of three Large dogs, has determination.

[Amy Schleif-Mohr]

Hahahaha, it is quite humerous trying to set them up, and when we do finally get them there they pout.

Thanks for the comments.

Amy

[Barbara Muth]

Nice! I really like Sincricity. You have great titles. Brock

Amy, I too like Sincricity a lot. Taking a class from you on high fires would be a revelation, your use of color is balanced, unmuddied, at once strong and delicate. My response to your high fires is always quite strong. I have yet to see a high fire that compares to yours. And then beyond the high fire itself, the way you create the curved sculptures that incorporate the high fires, well it is awesome.

yes I confess to being a huge fan!
Barbara

[Amy Schleif-Mohr]

Wow. I'm not sure what to say Barbara.

Color choice is very important to my work. I am constantly looking at new combinations. I guess this comes from my years of painting.

Color choice is so extremely important in a piece. It can very easily underscore the motivation of a piece and very easily confuse it. The challenge for me has been to get color into my high fire that is not obviously "out of the tube". I do have plans though... I need to experiment more, of course. hahaha

Amy

[Brock]

Nice! I really like Sincricity. You have great titles. Brock

Amy, I too like Sincricity a lot. Taking a class from you on high fires would be a revelation, your use of color is balanced, unmuddied, at once strong and delicate. My response to your high fires is always quite strong. I have yet to see a high fire that compares to yours. And then beyond the high fire itself, the way you create the curved sculptures that incorporate the high fires, well it is awesome.

yes I confess to being a huge fan!
Barbara

I totally agree Barbara. I haven't seen her match either. Go Amy! Brock

[Barbara Muth]

That's interesting Amy, I have been playing a lot with that question, and have had some successes, but am not sure my methods would work with highfires. A lot of my "not from the tube" colors come from capitalizing on interactions between colored powders and reactions between metals and colors. I have been getting some interesting patterns of color with metal leaf.... it always feels like a grand achievement, even when no one else sees it, or sees it for what it is.

Barbara

[Amy Schleif-Mohr]

Like I said, I need to experiment more with the mixing. I think the answer is in layers. I have some ideas on where to start so now I just need some time to figure it all out. Isn't that what we all need. hahaha

Amy

[Bob]

Amy,

Brock has mentioned art that "stops you in your tracks". Your's stops me. When I'm finished being amazed by the colour and form I look at the technical "stuff" and I get amazed all over again. Then I go back to the colour and form... then back to the technical "stuff".

Cheers,

Bob

[Amy Schleif-Mohr]

Wow, gosh! I'm turning all red! Thanks for the complements Bob and everyone.

I'm glad you look at the color and form first Bob, then the technical stuff. I personally think that the technical part of a piece should be invisable so that the viewer can concentrate on what the piece is about. This ofcourse is just my opinion.

Amy