Saying a belated hello
Posted: Tue Jan 20, 2015 5:56 pm
Prompted by Marty's "it's too quiet" post over in Spab's Forum, I thought I'd ramble a bit about my relatively new journey in fusing. I've been blowing glass for about 15 years. I started fusing 3 1/2 years ago. I took a course at Corning with Josh Simpson and Gabrielle Küstner (and Gayla Lee, our great TA) which combined cane making, assembly, and cold working techniques. What I learned and made there hooked me on fusing, just like my first gather from the furnace hooked me on blowing. Soon after I got home I set up a studio in my basement, bought a kiln, and got started.
Because I'm cheap I've done a lot of my fusing with free glass. Among the kinds I've experimented with are tempered glass, old (pre-float) sheet glass, and my personal favorite, Vitrolite. I'm probably penny-wise-pound-foolish cheap since I bought a bigger kiln than I need and will get a new glass tool at the drop of a hat, but will spend countless hours figuring out how to cut, fuse, prevent devit, etc. on "free" glass. I also love to create murrine pieces from cane I pull or buy and coat with vitreous paint. The intentionality, the repetitive actions, and the focused attention to detail in making these pieces really satisfies me.
In my fused work I have a hard time moving away from simple assembly toward creativity and expression. It's still easier for me to "say" something in the hotshop than with fused glass. I'm using 2 artists as inspiration to create more personal and challenging work. Anna Mlasowsky's (http://www.annamlasowsky.com/) experimentation with glass fascinates me. And John Garrett's (http://www.johngarrettarts.com/) mixed media basketry makes me look at mundane materials (coke cans, pull ties, hardware cloth, etc.) and assemblage in a whole new way.
Finally, thanks to everyone here. I've used Warm Glass as my main portal into the world of fusing. You've provided me with the information and links to information I needed for the technical things I needed to learn, like how to figure out what kiln to buy (I chose the Paragon GL24), what tools I might need, how to determine my schedules, why did THAT happen???, etc. You've also inspired me with the work you make and share.
-peter
Because I'm cheap I've done a lot of my fusing with free glass. Among the kinds I've experimented with are tempered glass, old (pre-float) sheet glass, and my personal favorite, Vitrolite. I'm probably penny-wise-pound-foolish cheap since I bought a bigger kiln than I need and will get a new glass tool at the drop of a hat, but will spend countless hours figuring out how to cut, fuse, prevent devit, etc. on "free" glass. I also love to create murrine pieces from cane I pull or buy and coat with vitreous paint. The intentionality, the repetitive actions, and the focused attention to detail in making these pieces really satisfies me.
In my fused work I have a hard time moving away from simple assembly toward creativity and expression. It's still easier for me to "say" something in the hotshop than with fused glass. I'm using 2 artists as inspiration to create more personal and challenging work. Anna Mlasowsky's (http://www.annamlasowsky.com/) experimentation with glass fascinates me. And John Garrett's (http://www.johngarrettarts.com/) mixed media basketry makes me look at mundane materials (coke cans, pull ties, hardware cloth, etc.) and assemblage in a whole new way.
Finally, thanks to everyone here. I've used Warm Glass as my main portal into the world of fusing. You've provided me with the information and links to information I needed for the technical things I needed to learn, like how to figure out what kiln to buy (I chose the Paragon GL24), what tools I might need, how to determine my schedules, why did THAT happen???, etc. You've also inspired me with the work you make and share.
-peter