Warm Glass -- your source for information
about glass fusing, slumping, kiln-forming, casting, and more.
WARM GLASS MAGNET EXCHANGE
|I have been working with colored
glass for 20 years. Stained glass suncatchers led to commissioned panels
and then a couple of years work with a kiln in my basement. In 1988, I was
working in a fabrication studio soldering lamps together when a fellow
employee suggested I attend a weekend workshop that his friends were doing
in their hot glass studio. That was it! I decided then and there that I
was going to have a hot shop.
I spent a lot of time over the next 6 years at the Alberta College of Art in extension and full time glass classes. My hot studio was up and running in May 1996. Further experience was gained at Pilchuck during pre-session visits as a Poleturner(helping with the annual auction centerpiece project) and one full summer course in 1999.
Living in the foothills of the Rockies has a large influence on my work. The sights and sounds I experience when I am in the foothills are reflected in the imagery I strive to present. Many years training as a classical violinist in my youth are emerging in the flow and contrasts that are showing up as well.
I continue to produce the occasional stained glass commission and am working at building a gallery network for distributing my hot glass designs. Current projects are including hot elements incorporated into warm glass technique and presentations. I have also designed and supply a new tooling technique for the hot glass studio that replaces the traditional newsprint shaping pad (see www.northernheat.ca).
That's it for now - I really enjoy the tone and tempo of the WGBB. Kudos to Brad Walker for creating and maintaining such a vibrant and vital resource for the art glass community.
|Avery Anderson||Avery Anderson, Arrowsic, Maine. Fused glass artist and instructor. Eighteen years in glass.|
Barbara Bader (firstname.lastname@example.org) is a writer, editor and videomaker
living in Portland, Oregon with her husband, science/tech/biz writer Brian
Robinson, and two big soft illiterate cats. In order to indulge in as much
glass excess as as possible, Bader is contributing to the Oregon Glass
Newsletter, and thinking up grand ideas for magazine stories about glass.
Bader recognized her glass epiphany the moment she wandered into the Bullseye Connection about 1.5 years ago. Since then, she's taken several fusing and lampworking classes, consumed compulsively the generousity of glassies a la physical reality as well as via WGBB, and panicked regularly for lack of a kiln. At the moment, Bader is half-moved into a cozy little studio with a small band of (mostly 3-D) makers in NW Portland, because Robinson and the two big soft cats booted her colorful collection of shards flooding their apartment like a slow wave. "Oh goody," Bader said. "Now I'll have electricity (in the studio) for all the kilns I can dream up." One big kiln will dwarf her teeny Hotbox shortly.
|Former stained glass artist, who began fusing in the early 80's. Self-taught, as not much information regarding fusing was available at the time. Began designing and producing commercial lines of fused glass wall tile for the Tile Industry in 1990. Currently a major production glass tile manufacturer with dealers and distribution world-wide.|
|Barbara Galazzo||I have been working in hot glass since 1995. First it started out as just a bead fetish then it grew into production of medium and large fused and slumped vessels to wall sculptures. I love to play with and mix colors. I love color. Many of my pieces incorporate kilncarving, but not on these little magnets.|
|Barbara Muth||I live in Fairfax Virginia (part of
the East Coast Glass Mecca), and have been fusing glass for about a year
and a half. Before fusing I studied ceramics in Venezuela and made pots
and terra cotta sculpture. I studied ceramics again in New York at the
Greenwich House and at the 92nd Street Y, and drawing at the Art Student's
League in New York for 2 years (I miss that school!) and had my drawings
and terra cotta sculptures exhibited in several small juried shows in NYC.
In my other life I am an ex-cancer-behavior researcher who now evaluates educational methods and programs for the American Red Cross. I have an amazing husband who is my greatest fan and supporter of the glass habit (to the point that he now discusses glass compatibility with ease).
My dream of working big is only limited by the size of my kiln and I am now moving from a Paragon Quickfire to a 24 inch Jen-Ken (thank you Bruce!), so watch out! The magnets submitted for the exchange are the first production in my line of ghost glass. Hope you like them!
Harmony Glass & Clay Art
|I have been a glass artist for the
last 2 years, prior to that my art had been expressed in paint and
pastels, with a little clay thrown in for diversity. I discovered glass by
chance. A friend asked that I take a class with her and that was it. I was
in love with glass.
Soon after discovering warm glass I decided to leave my Corporate America cubicle and pursue my art full time. It has been the best decision of my life. I'm free to express and grow with glass in ways I couldn't have imagined before. My joy and appreciation for life are expressed in each piece. I am the most fortunate of people, I do what I love!
|Bert Weiss||I began to learn stained glass
window and lamp making in 1972. I was told that all the tools you needed
to make a stained glass window areglass cutter, knife, pliers, and
soldering iron. I figured that I could afford those and so I set about to
learn. Soon I was hooked, and my obsession with glass remains just as
strong 30 years later. I began my glass work in Exeter NH and in 1977
moved to Portland Maine.
I first studied at Haystack, 1979 with Helmut Schardt, then Albinus Elskus. Next I was monitor for Paul Marioni. I then studied metal enameling with Bill Helwig. I really wanted to know about glass enameling but this class was close enough. I got out to Pilchuck for an experimental session with 40 students, Bertil Vallien, Paul Marioni, Henry Halem, Kathy Bunel, Judy North, and Clifford Rainey. There was no structure. We all did hot glass sand casting and kiln casting. It was big fun culminating in performance art by 50+ artists and 1000 lb of hot glass.
After first working with Paul Marioni, he got me plans to build a fusing kiln like ones built at Pilchuck 20" x 40" x 12" inside dimensions. In 1981-2 I built my first kiln and began working with enamels and fusing. In 1991 I moved to a house with large garage in which I built by current "door sized", 130 amp, 3 zone kiln. Because stained glasses do not come in sheets large enough to work in my kiln I narrowed my concentration to enameling and fusing with float glass. For the last decade this has been my concentration. I make sculpture, lighting, furniture, tableware, and architectural commissions. In 1997 I moved to a house with big garage in the forest, on the New Hampshire side of the Maine/NH border, where I live with my Wife Suzie Laskin, our son (a husky shepard, Sam) and various cats.
Before the internet age, my communications with other glass artists were minimal. Consequently, I developed a style that was from my own experience, not simply copying a teacher. This worked out well for my artistic and technical development. Today the universe has changed considerably and I communicate daily with peers from all over the planet who are confronting the same artistic and technical challenges that I face. We are involved in a bold creative sharing experiment. Never before has a community committed to sharing technical experimentation existed with this broad a range of talent and access to one another's work. The great magnetless refrigerator magnet exchange is the first chance to really get a hands on sampling of the work of nearly 100 practicioners of kiln fired glass on all levels of experience. We are so lucky to be involved with each other. I can't wait until next year to see how we have all grown in our artistic and technical visions.
|Beth and her very-long-time fiance got married when they realized his last name, Burns, was fitting for someone working with hot (warm) glass. Beth is a latecomer to the world of art. Creating 120 magnets with six tea candles and 1440 pieces of glass, stringers and frit, was her first important production job. She aspires to obtain a CR Lawrence tripod glass drill. She lives in Maryland near Washington DC with her husband, David, and several important 4-footed animals.|
|Beth Spadafora||The vibrant and transparent colors of
glass have attracted me for as long as I can remember. I have been
thoroughly enjoying playing with glass in my kiln for the past few years.
I love the technical challenges along with the creativity and the beauty
(sometimes) of the finished pieces.
My creative outlets have varied over the years, from silver jewelry to custom tiles, designing and building my home, working with children doing art related projectsÖ
I live in a clearing in the woods on San Juan Island in the far northwest corner of Washington state. My two wonderful children have both recently gone off to college in other states so I am left with my two cats and my kiln for company.
|Brad Walker||Brad Walker is founder and owner of www.warmglass.com, the internet's largest website devoted to fusing, slumping, and related kiln-forming techniques. He is also the author of Contemporary Warm Glass, a book based on the website.|
|Bob Leatherbarrow||Bob Leatherbarrow is a warm glass
artist who lives in Calgary, Alberta, Canada. He works extensively with
powder and frit to create textures reminiscent of those formed by natural
processes. His exploration of textures is in large part due to his
training as a geologist. By day he still works as an exploration
geologist. However once the whistle blows he heads to his basement studio
Each of Bob's fridge magnets are unique. Each is one of a numbered series called "What's my Hangup ?"
|Brian & Jenny Blanthorn||The original studio workshop was
established in Peterborough, England in 1983 and re-located to the Isle of
Wight in 1997.
The unique works of art created include fused laminated glass paper-weights (pebbles), glass bowls and commissioned glass architecture. Inspiration comes from the myriad of patterns found in nature, such as striated and weathered rock formations and the beautiful colours and patterns of tropical marine fish.
To produce each unique piece of glass art involves a lengthy, timeconsuming, painstaking process that has taken many years to develop and perfect. From the initial inspiration the complex process involves cutting, assembling, fusing, grinding and/or slumping, and polishing the glass.
We have recently made some pebbles of about 12" diamiter
If U have the irisistabal urge for more info have a look at www.blanthorn.com
|Brock Craig||Brock Craig is engaged in a personal
odyssey through the medium of glass art. A former member of Mensa and the
Canadian Army, (two somewhat disparate organizations) he has also been a
sales manager, tennis court painter and cab driver.
His current work is primarily kiln worked, including fused and slumped bowls, sushi trays and platters, torsos, and painted and fired panels. He is also designing a series of lighting fixtures using plate glass, cast glass, halogen and fluorescent light sources and extensive metal fabrication. He has been a student at the Pilchuck Glass School many times, and in 1994 was an artist's assistant for Eve Laramee.
Mr. Craig has been instrumental in the growth of the British Columbia Glass Arts Association, having been a charter lifetime member, serving on the Board from 1989 to 1995 and serving as President in 1992-1993, and 2000-2001. During his tenure he organized the BCGAA/Pilchuck Scholarship, enabling a deserving, juried BCGAA member to attend the school at no cost to the student and inaugurated the Projected Image Lecture Series, a course of artist's talks given by Pilchuck instructors in conjunction with Simon Fraser University. Dr. Edward Gibson, Evelyn Burch and he initiated what would eventually become the S.F.U. Biennial Exhibition, a recording exhibition of the BCGAA held at the Simon Fraser Gallery.
Mr. Craig's work is in collections in Canada, the U.S.A., Germany, Japan and Australia. His work is available in many galleries in Canada and the United States. He won the Award of Merit at the BCGAA/SFG Exhibition and is now in the permanent collection of the Simon Fraser Gallery, and he won the Award of Distinction at Glass Art VIII, held at the Vancouver Public Library in September 1996.
He has taught numerous fusing workshops in Massachusetts, Oregon, New Zealand, Australia, and B.C., and was the fusing instructor for the Vancouver Academy of Art from 1998-2001. In 1994 he curated an exhibit of the British Columbia Glass Art Association in Anacortes, Washington and in 1995 served on the Pilchuck 25th Anniversary Alumni Reunion Events Committee. He was a Director of the Canadian Craft Museum in 1995 and in 1996 - 1997 served on the organizing committee for Unexpected Collaborations, an artist run fund raiser for the Canadian Craft Museum, pairing artists and artisans with local celebrities to produce objects that were auctioned at a gala fund raising event. He and Eric Allen Montgomery organized Spectacle, a fund raiser for the B.C.G.A.A. He was nominated for the 1998 Jean A. Chalmers National Craft Award by the Crafts Association of British Columbia, and the 1999 F.A.N.S., Fund for the Arts on the North Shore, Artistic Merit Award, by the Seymour Art Gallery. He will be giving a slide lecture on contemporary kiln formed glass at Millennium Glass - Fahrenheit 2000, the conference of the Glass art Association of Canada in Red Deer, Alberta, May 11-14, 2000, and will curate a show of B. C. glass art for the Seymour Art Gallery in 2002.
|Brook||Brook's work comprises of Architectural Commissions for many private homes, model homes, community club houses and churches in the Virginia - Maryland Area. As an Award Winning Artist she very often mixes Fused Glass pieces into her Stained Glass work. Recently, one of her original designs was unanimously chosen by 7 judges as "Best of Show" and "Most Original Design" displaying her mixture of Fused Glass & Stained Glass. For "Play Time" she fused glass, later working it into pieces of jewelry.|
|Candy Thurman||I always like arts and crafts; whatever it was, I'd try it... I even did
wall murals as a young artist, using the crayon nubs to learn how to mix
colors to get others. (Isn't that what heating radiators were for?)
I was discouraged at home; mom didn't want me to 'waste my time with art.'.. But I'm nothing, if not stubborn; so I went on to become a drafter, and work at home in stained glass! I saw and heard about fusing in the late 80's. It looked awesomely addictive, and it needed a lot of new, different equipment.. and money was tight. After a move to Colorado, I saved a lot of cash from making windows, and went down and got a kiln! That's started that! Now I 'paint with light', and fuse with stringers, and paint on goblets, and make jewelry, in addition to making stained glass lamps and windows. Being too busy at all this, I decided to retire from drafting.. So, now I don't have to call in sick anymore!
I made 110 magnets (5 for every year I've been doing glass), 109 of which I sent off... I wanted to make sure I got one of my own! The design I came up with puts all the names of the participants across the top of the magnets (men in gold, and ladies in copper), In the main body, using platinum paint, I calligraphed two Sanskrit prayers, one for a Peaceful Life, and one for Improving Life, as my wish to all the participants. Overlaid on that prayer are miniatures of some of my favorite flowers, in thousands of tiny cutout glass pieces... I did cheat and use some frit.
|Catharine Newell||I grew up in sunny California (beach
girl), took art classes all the way through school, completed a BA in Fine
Arts at UC Santa Barbara and then graduated to become a flight attendant.
Go figure. The next ten years involved (moving to Chicago) flying,
(transferring back to LAX) marriage, 2 sons and, finally, my introduction
to flat glass in 1980. I was hooked and happy. A year later we moved to
Washington state and over the next fifteen years I continued to work
sporadically on private commissions while raising 3 boys and teaching an
In 1994 I finally began to assemble a body of work made up of large three dimensional flat glass portraits and began to show my work locally. A trip to Italy in 1998 sparked a screen seriestri-paneled multidimensional pieces composed of glass, wood and aluminum. Then came the real hook I was juried into Quagliata's Painting with Light course at Pilchuck in Aug of 2000, introduced to fusing, and everything came together. I purchased a kiln in Jan. of 2001 and am now producing work that seems to come from infinite possibility. This is the most rewarding and consuming work I had ever hoped to do. Sheer bliss. And just the beginning.
|Charles Willford||I'm Charles "Chuck" Willford of Surprise, AZ. I'm a self taught fuser of about 10 months and a stained glass artist of 3 years. I retired from GM Corp in 1994 and moved from Michigan at that time. I moved to Sun City Grand (a Del Webb retirement community) in 1998 and joined their stained glass club at that time. My engineering background provided at great foundation for learning glass. The club has one 24 inch kiln that was not installed until last year and that was the beginning of this current search for knowledge and fun! Last July, I got my own 25x41 bathtub kiln and have been fumbling ever since. I teach retirees stained glass and fusing basics in the hope of growing the interest in the art.|
|Cindy Jackson||Working in the glass and mirror
industry started her love of glass. Delving into research and development,
the properties of glass only served to fascinate her more. By accident she
came across fusing, it was love at first sight.
Through her company, Adelphoi, Cindy seeks to bring her faith to a tangible medium. The Adelphoi Crosstm is a series of handcrafted crosses named after the books of the Bible. The five in the Beta Series are made of fused glass. The style you see in her magnetless magnets is what was developed for Estherc.
Oliver Arts, L.L.C.
|I received my B.F.A. from the
University of Utah with an emphasis in painting and drawing, and then
promptly began working in kiln formed glass. I have always been, and will
always be intrigued with glass. The feel and look of glass is seductive,
and working with it is exciting, challenging and dangerous.
Every aspect of the work itself, such as heating and manipulating glass in a torch flame, forming and designing glass to fire in a kiln, changing and making new glass to add as components in a piece, all keep me excited, interested and in touch with seeing feeling and creating.
I care about craftsmanship, composition, balance and beauty. I am interested in form as well as function, and craft as art. The work is accessible, and develops a history with use and the passage of time.
I learned the basics of fused glass here in Salt Lake City from various local glass artists, and when I had learned all they had to offer, I took a course from Roger Thomas to expand my knowledge (I am off to Mesa in April to learn from Avery Anderson and Brock Craig). I intend to continue my education in glass when ever and where ever possible. This work is a passion for me that I know will continue to challenge me and with which I will continue to grow.
|Colin Lowe (Australia)||Age ~~~ Late 50's
Studio Location ~~ Little Grove Albany Western Australia
Experience ~~ Worked in Warm Glass and Ceramics (pottery) for over 10 years
Glass Mediums Used ~~ Fused & Slumped ~~ Lost Wax Casting ~~ Pate-de-Verre
For my magnets I have used 2mm re-cycled float glass from a local picture framer. The design has been colored with ceramic over glaze stains and the design I chose has been for many years part of Albany's identity. This large block of granite has often been featured on souvenirs. In times gone by any child who visited Albany was sure to have some memento of it, be it a sticker, ruler or photograph. Now souvenirs of this landmark are very scarce but visitors still take photos of this natural wonder. Many of Albany's art elite consider this granite icon bad art but for the grand magnet exchange could this majestic landmark be true magnetic art!
|I've always been a great fan of ornament through the ages, so it's not surprising that my magnets all look like scraps of African fabric or Indian pottery shards. They are also an example of a technique I regularly use in fusing.... Black Reusche paint matted on the glass, a design stick-lit, then sandwiched with another piece of glass, and fired in one full-fuse. The sandwiching keeps the paint from burning off at fuse temperatures and saves a firing. When I'm not making magnets and fusing for gallery shows, Michael and I are designing and building new church windows. That's what we do to make a living. In the last few years, we've been experimenting with fused inclusions in the church windows to add another layer of symbolism and meaning, and the technique has been very popular with congregations, especially the children. We'll do more of it in the future, and I hope at some point to complete an entire church in just fused panels.|
Gig Harbor, Washington
|I began working with warm glass one year ago. The magnet project gave me many opportunities to learn about compatibility and mixing colors. I think I may have found my voice. I look forward to the next group project! I think I may have found my "voice".|
|My artwork is inspired by nature and
the beautiful surroundings within the area that I live. I love texture and
have striven to achieve the colors, textures and movements of nature in my
work. I do not limit myself to one medium and have been working with mixed
media collage for the past eight years using recycled glass, handmade
papers, inks, acrylics, and resin. This gives me the freedom I crave in my
artwork. The end result is a new way of looking at nature delving deep
into your feelings within.
I have always been fascinated with glass and glass artists and just this past year acquired a kiln to expand on my experimentation with this wonderful art form. I plan on incorporating my glass pieces in with my collage work.
My artwork can be viewed in galleries along the Oregon Coast as well as in Central Oregon.
|Dee Janson||dee janssen is a self taught artist mentoring with sara creekmore to learn the art of glass fusing. dee has been designing jewelry since 1993, at first with standard beads and findings, later with sterling components she created herself combined with unique beads from artists accross the nation or with semiprecious beads. in 2001, dee began the adventure known as warm glass and isn't stopping to look back. becoming almost obsessed with creating glass things, dee currently maintains a full time job as she has a 15 yr old money pit in residence but still manages to take care of her family's needs and work on her glass creations/skills with a little assistance from her better half.|
|Dianne van de Carr||Dianne Van de Carr has been working
with glass since 1976. Her work began with stained glass and moved onto
fused glass in 1985. She is mostly self taught and enjoys the challenges
encountered with glass experimentation.
She lives in Carmichael, California, a suburb of Sacramento with her husband, 2 children , a big black Lab, a big black cat and a tiny black rabbit. They provide constant amusement and inspiration.
|Dolores Taylor||Owns and operate of a studio in
Kirkland, WA producing glass art for domestic and international galleries.
Since 1994 I turned my 20 years experience in glass into a full time
career producing glass and teaching at local art schools.
As a glass artist I am drawn to the medium of glass because of the paradoxical strength and fragility it projects. My fused work reflects a blend of abstract and contemporary images that depict the connections of the world around us.
Warmglass interest primarily in surface decoration of glass for stained-glass panels. Focusing on traditional glasspainting.
|Ellen Demko||I've been working/playing with glass
for about 35 years - long before much information or instruction was
readily available. Started out with every book I could find on the subject
and just did simple things til I got it right (talking about flat glass
Giving away my age (sure I'm one of the older members of this glass clan) when I say I started all this at approx. age 40. This while living in New Jersey and being mom of 4, wife and secretary. Retired to Oriental, NC in 1986; lots more time to devote to glass and started fusing with a little Quik-Fire, armed only with books until a short workshop with Judith Conway in 1996 in Md.; attended a Hot Glass Horizons workshop in Nov. '99 and looking forward to the February Craig/Anderson one in Beltsville.
On a personal note, sailing has been a big part of our lives; biggest jaunt from NY Harbor to Bermuda to Virgin Islands, and back to Beaufort, NC. The boat never made it back to NJ; it was just too nice here in NC. However, time takes its toll; anybody looking for a great old Morgan 34 sloop? I really, really appreciate this Website! 3 cheers for Brad!
|Ellie Sprague||Have been fusing glass about 4 months
and am definitely hooked. It is the art form that seems to come the most
naturally to me. I am not a professionally trained artist, but have taken
many classes and workshops to increase my skills with design, drawing,
painting, and stained glass. To hone my glass fusing skills I read about 5
books and then talked to a number of glass artist. This board has also
been wonderful. Especially Brad who answered many of my questions before I
joined the board. Thank you all.
Prior to my retirement, I sold real estate for 25 years. I'm so lucky to have the time now to be creative.
I am on the board of Cornish College and am presently the Co-chair of the Bellevue Art Museum's Art Auction to be held April 6th. Last year I was Co-chair of Art Procurement. I wish I had given everyone on the Warm Glass board the opportunity to submit an entry. Lots of good exposure and the artist is given 30% of the final bid, as well as supporting a worthy cause.
|Age 53. My glass studio, StudioGG, is located behind my house in Peachtree City, Ga. I am a self-taught glass artists, specializing in fused glass for the past two years. I have an art background and have recently retired from a 30 year career in advertising.|
|Gale Bez (aka Artistefem)||Colorado
"driven to commit art"
25+ years with the glass (have the slice & dice scars to prove it)
|Geri Comstock||USA, San Jose, CA. Started doing
stained glass in 1989. Began working in warm glass in 1993, now a full
time professional glass artist selling work at shows, galleries and shops
I've been married 18 years to a software engineer, no kids, I'm a "reformed computer nerd" since 1993 when I started doing glass full-time.
No web site yet. My work is on various other websites, whose names and location change, which you can find by using the Lycos search engine.
My passion hasnít always been glass, but has definitely always been color. Screaming, bright, vibrant, energetic saturated color. Mixing colors, inventing new ones, and using as many of them together as possible, thatís what I love. Itís that passion for color that led me to explore the mystery of glass. There is so much to discover about the make-up of glass, and frankly, itís far more technical than my artistís mind has the patience for. Learning only by trial and error, and never knowing exactly what I was going to see when I lifted the lid of my kiln, led eventually to the name of my studio, ďTotal Con-Fusion.Ē Because I understand far less about the properties of glass than the average warm glass artist, each day is a marvelous surprise. To my constant delight, 1000 pieces of glass are often cut for a single work, and through what I prefer to think of as magic, rather than science, emerge from the kiln as one. Day after day I still find this amazing.
My technique is rough, but the funny thing about my
raw, untrained style is that it truly seems to make people happy. My glass
is bright and vibrant and exciting, and it makes people smile. This is all
I could ask for. My goal in life, as well as in my art, is to make people
happy. A smile, a joke, a story, a piece of beautiful happy glass Ė the
end result is often the same. Someone feels good, and that concept
delights me, fulfills me, and completes me. It makes me who I am.
Lindell Glass Art
|I am 45 and a CPA in my former life.
I studied glass casting for a time while living in New Zealand from
1997-2001. The large art community in Auckland also allowed the
opportunity to study painting and ceramics with practicing artists. Now
located back in Iowa, I am studying design and drawing at the local
college toward an Associate of Arts degree. Since finding the Warm Glass
website online I am now hooked on fusing. I like fused glass particularly
for its reflective characteristics - which isn't easily achievable with
casting. After attending Hot Glass Horizons in Corning in May 2001, I have
been doing "newbie" experiments in a Hot Box. This magnet
exchange has precipitated the purchase of a larger kiln and I am looking
forward to participating in warm glass in a "bigger way".
My husband, Chris, works for Alliant Energy and was responsible for investments in several electricity companies in New Zealand and Australia. He has now taken a position based here in Iowa, but it will continue to entail a lot of travel. We have a son age 16 and a daughter age 7.
|Jim Simmons||I live in the Portland Oregon area.
Retired Semiconductor equipment engineer. Been in warm glass semi
seriously for the last 3 years.
Kiln is a Paragon GL22.
Have a passing knowledge of the torch, have a Nortel minor burner and a GTT Lynx.
67 years old married to Jayne, 3 children, 2 Grand kids.
|Jo Holt||My studio is located in the Western
foothills of Maine. I started working in tiffany style stained glass in
1991 using Nature in most of my panel and window designs. Three years ago
I bought my first kiln - a 24" Jen-Ken. Except for the 6 week course
to learn "cold glass" and spending a day with Marty at Centre de
Verre learning what I could about kiln firing, I am basically self-taught
relying on books by B Lundstrom and Brad Walker. The WGBB has been like a
University course for me.
Life outside of glass - my initial response to that was, "There is one?!" Glass does take up most of my time, but luckily I live on 10 acres with a great husband (who has a manufacturing background that's been very helpful understanding heat treatment and annealing) and a horse, dog and two cats. The dog and cats came from animal shelters, and the horse has been with us since she was 2 (she's 22 years old) but is retired from riding. They all provide the necessary breaks in the day from the glass business; the dog insists on his walk and the cats insist on "assisting" me in the studio.
Web site still under construction: jobear.net.
|Judith Conway||Judith Conway has been working with glass for over 25 years, and fusing
for most of that time. She instructs in many Art Schools in the
Washington, DC., area, and exhibits in galleries nationwide. Her work is
in collections world-wide, and she has recently been selected for the Arts
in Embassies program of the United States Department of State.
Kevin O'Toole has been an artist all his life, and has been working with glass for over three years. His interest in the forms and colors of nature is apparent in his glass work, and in his bronze and stone sculptures. His recent cast glass work has been exhibited at the WG@BE exhibition, and was selected foe exhibit in The Art of Glass Show at the Ellipse Gallery in Arlington, Virginia.
Kevin and Judy recently opened a warm glass resource center and studio, Vitrum Studio, in Maryland, where they teach and host Master Workshops with internationally-known artists. You can find them at www.vitrumstudio.com.
|Kate Saunders||I always like to say that I've wanted
to fuse glass since the first time I saw a melted Coke bottle at a
carnival when I was a kid, but got waylaid by ceramics in college.
I live on the Oregon coast and have been doing fused glass for five years. I orignally started to fuse glass to use it in mixed media sculpture, but it didn't take long for glass to become my main focus. At this point, I am working mostly with frit to accent functional pieces and doing some lampwork.
|Katy Pattison||Katy Pattison lives in Calgary, Alberta, Canada with her husband Garry and children Philip (17), Delaine (15), and Colin (12). As you can guess her life outside of glass revolves around her kids (hockey, soccer, etc.) and sometimes even her husband! She started as a stained glass artist 17 years ago and began fusing glass over the last few years. Most of her fusing involves dichroic jewelry but would love to branch out to other things. She is lucky to have taken all of her fusing courses from Bob Leatherbarrow.|
has worked with various art media all his life.
After finding glass in the late 1970ís it became his favorite
Largely self-taught, he uses techniques and skills he developed
through observation and experimentation, during countless kiln firings, to
create his glass art.
He designed and built his own special equipment and kilns.
He attended various schools, colleges and universities in order to
collect the diverse knowledge that has allowed him to master glass making.
work has been featured on the front covers of magazines such as Chatelaine
and Food and Wine as well as being frequently found in fine recipe books
philosophy is to tread lightly upon this world.
He carefully utilizes his materials and minimizes waste.
His glass is clear an
d lead free. His kilns produce heat, which is used to warm his home and
He lives and creates a clean art form in Tofino, in the United
Nations Biosphere Trust of Clayoquot Sound, on Vancouver Island, British
d lead free. His kilns produce heat, which is used to warm his home and studio. He lives and creates a clean art form in Tofino, in the United Nations Biosphere Trust of Clayoquot Sound, on Vancouver Island, British Columbia, Canada.
|Hi, my name is Kristrun Tomasdottir and live in Iceland. I have been in stained glass for about 10 years and fusing glass for about 3 years. I teach lapidary and glass at technical school. And I have been a lurker at Warmglass since april/may 2000.|
|I am an American who has lived in Australia since 1984, the last ten in Melbourne, Victoria. I finished an art dergree in Hawaii many moons ago, then went back to school and became a social worker a few years ago- running an outdoor adventure and recreation program for people suffering from mental illness. After five years I thought it was time to put my money where my mouth is and open a little glass studio, something that has been a dream of mine for a long time. I have worked in cold glass for years, and dabbled with warm glass a bit before becoming a SW, but have been doing glass full time since August. I have just been accepted into the Glass school at Monash University, which is the only warm/hot glass course currently avaliable in Melbourne, so starting at the end of the month I shall be a full time student while attempting to maintain my studio- I cant wait to get to play with all their lovely toys, and try my hand at glass blowing.|
About Licha ...
(pronounced Lee Cha)
*Born and raised in Kansas City, MO
*Presently living in Kirkland, WA
*Studio: Sundance Glass by Licha / Kirkland, WA
Being raised in a large Hispanic family in Kansas City, MO was quite a challenge among my four sisters and one brother. We were taught at an early age to be independent and strong-minded which became our strongest assets in our growing years.
Observing my mother create wonderful items with simple household textiles was my first introduction to being creative with my hands and imagination. She inspired me to imagine what can be created with available resources. With my father's strong influence (some may call it stubbornness!) I learned that I could accomplish just about anything I imagined could be created. Because of these strong features which were highly instilled in me by my parents I continue to expound on the endless opportunities which I seek.
I began creating glass in the 1980's. Stained glass was my medium having created numerous window installations throughout Kansas and Missouri.
In the late 1980's I traveled to Australia and in Australia is where I found my first kiln formed piece of glass art. What was this unusual form of glass art that I was not familiar with? I wanted to learn how to create such an intriguing medium of glass! My learning resources were limited living in Wichita, KS. I was unable to find someone local to teach me this fascinating technique. With the help of the internet I found numerous glass schools outside of Kansas. After much research I decided upon a glass school called Pilchuck. So, how was I going to leave Kansas and my husband to study out of state - easy-ha! I just figured I'd travel the distance for the required session to study glass. The glass angels must have been watching over me because soon after I applied to Pilchuck my husband was offered a job change in the Redmond, WA!. Soon after our move I was informed that I would be attending Pilchuck!
Since 1999 I've been enjoying creating and teaching warm glass. Having the opportunity to continue to expound on this endless medium has been enriching to me because of its unlimited potential and natural beauty. I will continue to grasp the endless learning experiences creating with warm and hot glass!
My work can be seen throughout WA, KS, MO and TX. I have 3 exhibits scheduled for 2002 in MO and KS.
|Linda and Don Burns||Linda & Don Burns [Hot Glass Burns] of Towson, Maryland, have been melting glass for about 4 years. Their contribution to the Magnetless Magnet swap were little "Baltimore Aquariums". Linda does fusing and got totally hooked on it after firing her first pieces of dichroic glass. Don does lampworking and manipulates the hot glass into beads and also adornments for their fusing projects. He has recently become enchanted with glass blowing at the Corradetti Studio in Baltimore. They both do glass etching and sandblasting. By day, Linda & Don work as computer application developers and nearly every other waking moment is occupied with their glasswork. Silversmithing and forging are newly learned techniques they apply to their craft. Hot Glass Burns is in its third year of selling jewelry and art glass at the arts & crafts festivals around Maryland and is featured in several local galleries and stores. Don is an excellent all-grain beer brewer and is president of the Baltimore County homebrew club, The Wootown Brewers. They manage to squeeze in brewing, catering gigs, gardening, motorcycle riding, reading, home remodeling and playing with their 2 Australian Shepherds, Xena & Barley, while the kilns are cooling. (They have no idea what is on TV anymore !!) Their web site lists the schedule of their upcoming shows and displays a few pictures of their glass work www.hotglassburns.com.|
|Linda Hassur||In 1979 I began my study of
metalsmithing at a continuing education class at Transylvania University
in Lexington, Ky. I furthered my training attending Arrowmont Art School
in Gatlinburg, Tennessee. I attended classes taught by many different
metalsmith instructors from universities all over the United States.
In 1996 I took a fusing class in Ft Lauderdale, Florida, and I was "hooked". I have attended numerous Hot Glass Horizon's workshops along with classes I have taken from other instructors both in the US and Canada.
I was frustrated in my glass work because I hadn't been able to incorporate my metalsmithing skills. I took a dichroic glass class from Shirley Webster at HGH and it suddenly came together. I could make jewelry in conjuction with my goldsmithing.
What I try to achieve with my art is movement and texture within each piece. I get movement in the glass and my metalwork usually contains some texture. By combining my first love of working with metals, and the beauty of the warm glass, I create art glass jewelry.
|Linda Steider||I make my living as an artist in the
Columbia River Gorge on the Washington-Oregon border, just outside White
Salmon, WA. I was a fiber artist for 20+ years (have also painted with
pastels since high school). A friend introduced me to warm glass 5 years
ago & it has been my passion ever since. I started teaching basic
fusing techniques last year (at our local community college &
community ed through the Arts in Ed program) to build the warm glass
community in my area. So far, every class has had a waiting list. 70% of
my students have continued fusing on their own! I still consider myself a
new glass worker as there are so many challenges in working with glass; it's
so versatile, the possibilities seem endless.
I still paint & have a huge garden with unusual & collectible plants. I also make soap, using my own organic herbs for enhancements. My husband's creative outlet is cooking, so that frees up more time to play. And we have 2 budding artist grandkids that live in CA."
|Lynn Bishop||I'm an artist and teacher in Newport, Oregon. For the past 5 years
, I've fused almost exclusively with float glass, using kilncarving,
enamels and gold to produce textured and colorful patterns in my work.
I've always loved glass, and began working with stained glass in the late seventies. Disliking the soldering process, I gave up doing stained glass
and began a career as an award winning artist, painting in oils, while specializing at being a stay-at-home mom.
Today, I work full time as a third grade teacher, bringing the joy of fusing to 8 and 9 year olds. We usually manage to get in math and reading during the day, too. My double car garage (is that still what it's called when a car isn't allowed in?) serves as my studio evenings, weekends, and summers, as I supply glasswork for 7 galleries and the occasional craft fair. The children are growing up, with one in college and one graduating from high school and heading for a year as an exchange student in Denmark in July. My husband, ever patient with glass all over the kitchen, and no dinner in sight, is becoming an expert at BBQ and picking up take-out food.
My magnets are made from 2 layers of single strength float glass. Hanovia gold was first brushed on one layer of single strength glass, fired on, then cut into squares. Thompson's Enamels for float were carefully sifted on each piece of glass, and pens and sticks were used to draw into the enamel, exposing the gold. This was carefully placed over a slightly smaller layer of single strength glass, and fired in a Paragon kiln to 1530 for 10 minutes.
|Lynne Chappell||I live in Surrey, B.C. Canada, which is near Vancouver. I have made my living from glass for 28 years, mostly leaded and sandblasted windows. I started throwing glass in the kiln about three years ago, and was instantly hooked. Although I sell my work, I don't consider fused glass as part of my professional glass work - it is more of an obsession. After working basically alone, I find the WGB community a real inspiration.|
Jewelry To Honor The Goddess In Every Woman
|49, born in Brooklyn, New York, transplanted to Mankato, MN in 1995. I have always loved glass but it wasn't until November, 2001 that I took my first glass fusing class. It was two sessions where we experimented with cutting and placing glass, but we didn't get much instruction on the kiln. I was immediately hooked. I ordered a small kiln and some glass and found the WarmGlass bulletin board just in time to participate in the Great Magnetless Magnet Exchange.|
|Marna H. Hartjen||I live in Escondido CA. I have a
degree in electrical engineering and currently a computer consultant and
stuggling glass artist. I enjoy all kinds of art forms but I am now
totally addicted to glass!. I believe that learning different mediums
allows you to bring a slightly different perspective and freshness to your
The more you push your artistic boundaries, the more you are able to push yourself. I would love to know where each of my magnets finally live.
|Marty Kremer||Middle-aged bearded male, balding,
glasses, married to Barbara,a great woman with a real job, got a 9 year
old son named Gabriel, and Otto the Bernese Mt. dog. We all live in
Westchester County, NY.
Been working with glass (stained, blown) for a long time, sometimes successfully, sometimes not. BS in medical technology, really relevant to current career. No formal art or glass training. Started fusing about 4 years ago, having lots of fun with it. Mostly doing bowls now, solid heavy opaque brightly colored stuff with interesting inserts. Work full time when not being Mr. Mom. Have one part time assistant, Helena, who prevents me from making really ugly things and who tries to keep me organized.
When not playing with glass, am EMT on local volunteer ambulance corps, sing bass in a pretty good chorus, play raquetball and canoe as much as possible. Great cook, too.
|MaryKay Nitchie||I live in SE Portland Oregon in a
yellow house with a kiln in the basement next to the washer and dryer.
When I married Jim 17 years ago, I was a printmaker. Four years later we
had two kids, and I needed a day job, so I started working at Bullseye
Glass. Meanwhile, the children have become teenagers, my husband started
working as a kilnformed-glass fabricator, and I have taken all of this
vicarious glass experience and started making some glass pieces.
One of the best things about the community at the WGBB is the acceptance of people with a wide range of involvement in kilnformed glass, from the amateur to the professional. In my office at the factory, my involvement in glass is professional. At home in the basement, I am an amateur, learning something new with every firing.
|Melodie Triche||I live near New Orleans and teach
Drafting in a local Technical College. I am also Head of Technical Support
and Training for a company that develops and distributes a drafting
program called IntelliCAD.
My glass experience is stained glass for two years, fused glass for approximately six months and torchwork for one month.
|Nancy Weisser Underwood||Glass artist Nancy Weisser Underwood owns Weisser Glass Studio in Kensington, Maryland. Open to the public, Weisser Glass Studio offers classes and supplies for anyone interested in the glass arts. Nancy's work is bold and colorful, large fused glass tiles, sometimes slumped or sculpted or framed and hung. "The challenge of the magnet is to express your style in a very tiny scale. You want each artist that receives one to pause and to think about your work. The fun will be to see how each artist meets the challenge."|
|Bonita (Nita) Crawford||Glass has fascinated me intensely
since I was four years old. At that time I would pick up bits of broken
glass and fantasize that my "treasures" were diamonds, rubies,
sapphires, and emeralds. Carefully, I stashed them away but visited them
Beautiful glass continued to be exciting to me as an adult when I began to collect glass art. Never did I dream I would someday be able to make it, how- ever. Then in 1980 I got the opportunity to learn to make stained glass suncatchers in a class taught by my friend, Charles Adams. After about six weeks of classes, he went away to a two week long show in Gatlinburg. He was surprised to see I had made a large window when he returned. Eager to learn more about glass I had bought a book on how to make stained glass windows using the copper foil technique.
There was no turning back. I was obcessed with glass. As my teacher told my husband, Bill, "You don't have a window in this house that is safe from Nita now." He was right.
In 1985 another good friend, Edwin Walter, a pioneer in the kiln-fired glass movement over 50 years ago, was teaching his last semester of classes on making fused glass. With some trepidation, I plunged in and took the class at Troy State University. Nothing has ever been the same since. I have five kilns, and I don't do windows anymore! I fused with Thompson's enamels and float glass for several years.
Then I took a week long course in advanced glass fusing at Arrowmount in Gatlinburg, TN, with Gil Reynolds. He introduced me to Bullseye glass, and I was like a child in a candy store. I still fuse a lot of Russian blue float glass, but I use even more Bullseye and other compatible glasses.
I do everything from abstract tile table tops to jewelry, vases, bowls, plates, sets of doily enameled dishes, etc. My work is sold predominately through galleries, but I also do one glass show a year. I'd probably do more shows, but my work is awfully heavy and bulky to transport.
It has been my privilege to study with a lot of great teachers over the years. I am grateful to each one of them. Also, I am grateful for the ready source of information and inspiration I receive from the Warm Glass Board. Too long, I have worked by myself, and I am really a "people person".
I was born in Birmingham, AL, and have lived in Troy, AL, in south central Alabama for about 25 years. It is a delightful University town full of friendly and encouraging people. My husband, Bill, is a wonderfully supportive, and multi-talented man who urges me to be all that I can be. He has learned to do ironwork so that he can make stands and bases for me.
In addition to my glass, I am active in my church and civic groups. I also love to cook and I continue to give talks in other cities and states, either humorous or motivational. Another great pleasure is mentoring young people. Glass still fascinates me. Some time ago, Bill and I drove to another state and bought about $3,000.00 of glass. As I started to get into the truck, I looked down and spied some bits of beautiful glass. Without hesitation I found myself bending down to pick them up.
|Pamelita||I started life in New England, your
typical horse-crazy girl raised in the country. I had Thoroughbred horses
and had to wear a name tag when I came in for meals so my mother would
know who I was. Years later I bought a Morgan (now 22), had a small
carriage business, doing tourist rides around town at night, weddings by
day, competitions on the weekends, and then got into breeding. However, I
got tired of being so tied down (those mares don't operate on a reliable
schedule and their owners are even worse) so I gelded my stallion last
summer and would like to get down to no more than 4 horses -- well, maybe
5. To show you how much cooperation I'm getting, one of the mares
surprised me on New Year's Eve with a nice little colt...
In 1990 we bought 80 acres at the end of a dirt road south of Helena surrounded by high pastures, mountains, and thousands of acres of BLM and USFS land, and built an off-grid solar/wind house using foam forms and concrete. I heat with wood, sun and cats & dogs. It's so private and peaceful with no neighbors, no traffic, only deer and elk, coyotes and bear, that it's hard to remember it's only 3-1/2 miles to town. Unfortunately, my husband proved to be unfaithful so now I get to finish the house, the barn, and all the other projects we started, in between traveling, scuba diving (yes, we do dive here, but it ain't Tahiti! Diving in warm water is one reason I travel so much.), horsecamping in the backcountry, woodworking, and, now, fusing.
For years I made steel silhouette ranch signs (My designs are mostly horses, but I've done almost everything from airplanes to Model Ts and I did a lot of custom work for people based on their ideas. The oddest one I ever did was of a horse and his cowboy, both peeing.) and whimsical dancing goats, Kokopellis, windchimes, etc., for the gift shop at the local Museum of Art.
And then last summer when I was back in New England, I stopped to see a friend of mine on Cape Cod. She's been working with fused glass for a few years and I was overwhelmed by what I saw. It was all so alive, so vibrant, so gorgeous!! She let me play in the studio for an afternoon and I was hooked. I went back again in October and bought a kiln, a grinder and a lot of BE and dichroic glass from her and I've been cooking ever since, turning out buttons and earrings and picture frames and magnets and kiln-formed bracelets that everyone wants at least one of! I got squeezed in to a handful of A&C shows before Christmas and have started lining up my 2002 schedule, starting with a 3-day Valentine's Day Fair at the University of Montana.
Life in Montana is wonderful.
|I came to glass a few years ago by
way of working silver and wanting to include glass as a component of
silver jewelry. Although I still make some jewelry, my passion for glass
threatens to overtake my interest in silver. A few "boutique"
shops/galleries sell my work (Idaho, Illinois, Ohio) but since my glass
habit is not yet self-supporting, I have an alternate career--a
"regular" job-- to maintain myself, my glass, and my other
passion, Zak, my 6-year old, 130 lb., black and tan German Shepherd Dog,
whom I have trained in personal protection. In my free time (!)I am also
working on a Master's Degree in Urban Studies and Community Development.
This just proves the adage that when you hit 50, you're not getting older, you're getting better, AND busier!
|Patricia Hall||I live in Fort Worth , Texas. I have been fusing for about 1 1/2 years. I am self taught with the help of artists like all of you who have been kind enough to share info and books like Brads "Warm Glass". I am also not afraid to experiment with anything that even looks like it melts. I am a Chiropractor and this is what supports my glass habit. If anyone ever has any Chiropractic questions please ask. I make soybean wax candles and fuse unique glass candle holders which are sized to hold my candles. I don't seem to have much of a knack with small jewelry pieces--and usually work with larger items, but I am having fun making magnets. I have a small glass studio and retail shop set up and sell fused pieces as well as my candles to the public. I work with both Spectrum 96 and Bullseye glass. (Not at the same time of course LOL). Creating and playing with warm glass is my passion! I am adding sandblasting equipment as well as a Vitrograph kiln to my studio as of the first of 2002 and I am excited to start experimenting with the new equipment. I haven't posted much to the Warm Glass board but hope to be able to participate in some small measure in the future.|
|Patty Gray||My personal objective is to never
stop learning, continue to experiment with glass and explore its
possibilities without limiting myself to traditional methods.
I was an art student in college working primarily in clay when I was introduced to glass blowing in 1973. My husband and I built our first glass blowing studio in 1975. I began working with fusing glass in the early 80's; there was not a lot of information available at that time so I did lots of experimenting. My husband and I have been producing architectural fused/cast glasswork for installations in major hotels, public buildings and private residences for eight years. During this time I have had many opportunities to experiment and advance my creative ambitions with glass on personal projects.
I spent several years working with local elementary schools (artist in residence program) teaching and exploring projects for school/community. I found this experience very rewarding; the children's enthusiasm and willingness to learn new things without a lot of preconceived ideas was refreshing. My favorite project while working with the children was a glass mural measuring 42"x 90" that is permanently installed in the Brier Public Library.
My work is included in numerous private and public collections and has been shown in galleries and exhibitions.
Recently I have been giving fusing workshops in Germany (2001) and Redmond, WA (2001 and 2002). This spring I will be giving fusing workshops in Germany, Italy and Spain.
|Patty Johnson||I live in southern Wisconsin with my husband John and our 2 daughters. I am a self taught glass fuser and wire wrapper. I have always had a love for glass. As a child my best friend and I would collect different colored pieces of glass, smash them up and glue the pieces to all sorts of things making jewelry....destiny -). I began working with glass at the age of 18 (1984), I walked into a glass studio and was blown away...I bought books and supplies and have been working with glass in some form ever since. I worked with stained glass for many years and in Christmas of 98' I received my first kiln. Fusing has become an obsession for me, there is something about the glow of hot glass that seems to draw you in. I use mostly dichroics in my jewelry and metal inclusions and enamels in my other works. Eventually I want to work on a larger scale...windows, sinks, sculpture, etc... and want to get into casting. I feel I am just scratching the surface in both of these ancient and recently emerging art forms and look forward to what the future brings.|
Red Maple Stained Glass
|Robert Burrell, the artist/owner of
Red Maple Stained Glass, has been creating stained glass art since 1992 -
after a beginners course he was addicted to working with glass. Advanced
training and participation in several national conferences introduced him
to glass kiln work and various aspects of warm glass manipulation, fusing
and bending. His creations include jewelry, decorative plates, panels,
window inserts and lamps.
Besides custom work, he teaches beginner classes through and displays his work at Trinity Stained Glass in Warwick, RI and the Rhode Island Center for The Arts in Woonsocket. His work can also be found at Espiritu Gallery. He is an active member of the International Guild Of Glass Artists/New England Chapter .
When not in his studio or teaching, he can be found functioning as a staff member of Audio-Visual Services of CCRI in Providence.
|Robin Ziuchkovski||I live on the southern Oregon Coast in a smallish town named North Bend, where the beach is only 10 minuets from my house. I started working with glass about a year ago, but only seriously since Oct. I've attended Warm Glass classes at HGH, The Eugene Glass School & our local Art Museum. I finally got my first Kiln and got it set up in this last fall. Then I got a hotbox while I was up at HGH. Been having fun experimenting. Just wish I had more time to be in my studio, but one does have to work. Luckily I love my work too. I own and run a custom picture frame shop called "The Framery", which I've had for the last 15 years. So I've got lots of float glass to use. Besides work and glass I also love the beach, chocolate, walking and kayaking (both whitewater & flatwater) I have 3 kayaks, different boats for different water. I suppose it's that way with kilns too. Differents kilns for different uses?|
Born in Louisville, KY
Graduate of Windsor Mt. School, Lenox, MA
Kicked out of the University of Louisville once
Kicked out of KY Southern College twice
Resident of St. Pete, FL since 1987
Married my high school sweetheart, Kif Feller, in 1998, My 2nd marriage, her 4th (one of hers was a green card marriage so she says it doesn't count)
Lapsed Mensan (I quit paying the dues)
Ex 4th chair orchestral french horn player (would rather wear a bathrobe than a tux)
Professional stained glass craftsman for over half my life
Have visited 13 countries
Can't fuse worth a damn
Hobbies : Duplicate Bridge, Searching for the perfect Martini, Food, Trying to find the world's best beer, Learning to play A Whiter Shader of Pale on my Christmas present Casio keyboard, Deciding on my favorite Single Malt Scotch
|Ron Coleman||I have been fusing glass for about
1-1/2 years and work mainly work with Bullseye glass. I enjoy the whole
process of fusing and all the things you can create. I would fuse glass
all day long if it weren't for my day job.
I am in Columbus, Ohio USA and have lived here for 55 years. During the day I work as a mechanical designer for Battelle Columbus Laboratories. I spend most of my time on the computer designing products for the medical and health care industries.
|RosannaGusler||I live in the village of Wanchese on Roanoke Island, Dare County, North Carolina, USA. I do yacht maintenance and commercial fish as my main sources of income, been doing those things for about 20 years. I have a BS degree in natural resources from Ohio State University and a USCG captains license. I started seriously messing with clay in the early 90's, bought my first kilns in 97. got interested in glass and bought 'Techniques of Kiln-formed Glass' by Keith Cummings. read that, got intimidated. Took a fusing course at Campbell's Folk School, got hooked. Then I found the Warm Glass web site, bought Brad's book, and my skill level increased by leaps and bounds. I use float and bottle glass as my medium along with metals and enamels. I am very fascinated with the various chemical reactions that occur in the kiln and wish that I had paid more attention in chemistry. my source of inspiration is nature.|
|Sara Creekmore||Sara Creekmore has traveled an
interesting path to the creation of beautiful, internationally recognized
dichroic glass paperweights and marbles. She began hot glass work at the
age of 52! Primarily self-taught, Sara has worked in advertising and
graphic design. In the early seventies, She opened a macrame' shop and
gallery, and designed numerous macrame' books. Sara moved to Lake Tahoe,
CA in 1978 to become the evening production manager of the local
newspaper, and helped establish the Tallac Association Museum Store, a
showcase for local artists. While she continued weaving, spinning, and
macrame', Sara took an evening class at the local community collage in
glass fusing, and became totally immersed in the process.
In 1991, Sara married David Durham, an engineer in applied physics, and moved to Santa Barbara, CA where she discovered dichroic glass and Sara Creekmore Glass, Inc. was born. Sara and David purchased an old ranch near Magdalena, New Mexico in 1994, where they converted a 100 year old adobe building into a "hot shop" and production of the paperweights and marbles began.
In 1998, David picked up the "punty" and began designing and creating marbles and paperweights that are distinctly his own. He has also developed a series of fused glass plates, incorporating many beautiful dichroic glass canes that he has formed at the furnace. Seduced by the color and immediacy of dichroic glass, Sara and David feel drawn to blend the art and imagery of ancient times with the contemporary space age material. Sara and David balance hiking, gardening, xeriscape and lapidary with their fused and hot glass work.
|Seekie (from Norway)
aka Siw Eek
|"me" is a girl,age 34. I am
married, have one son 9 years old.
We're living in the southeast part of Norway, app.100km from Oslo, the capitol.
I'm a totally newbe as comes to warmglass but used to do glasspainting and -engraving as well as aquarell & acrylic painting. Getting my own kiln and learn about fusing has been a dream to me for several years, and now I'm finally there,- what an excitement!
Besides glass I'm interested in interiors&design and I work at a office-furniture factory as a problem solver/decorator/designer.
Finding the WarmGlassBoard was the luckiest thing for me, - so many nice people and so much to learn! Very few have even heard about fusing here and I must travel quite a bit if I want to take a class.
Besides that it is a very expencive hobby,- prices in Norway is about twice compared to US when comes to glass and tools. But this is what I want to do and nothing of this is gonna stop me!!!!
So therefore,- I have to keep practicing, getting better and start to sell... LOL I don't have my own website yet but will as soon as I have done something worth showing.
Steve Klein Studio
|Studio artist in Southern Calif. I've
taken classes at Pilchuck in sand casting and kiln casting. I have been a
TA at pilchuck the last three summers for Irene Frolic (kiln casting) and
Jane Bruce (survey of glass)
I have taught at Penland and Bullseye and will also teach this year at Firehouse 12, Vancouver WA and Bella Glass in Denver.
I show work at Friesen in Seattle, Bullseye in Portland and Pismo in Denver. I will be haveing a show at Bullseye in April and at Friesen in August.
|Steven C. Immerman, MD
Clearwater Glass Studio
|I grew up in the suburbs of New York
City. I went to college and graduate school in Chicago, and I now live in
Eau Claire, Wisconsin.
I became interested in stained glass in 1979. I spent several years making windows, usually from my own patterns. Later, I graduated to lamps - but, after one lamp took me three years, I decided I wanted something with more immediate gratification. Glass blowing, as a home based hobby, didn't seem feasible, but fusing did.
In 1995 I bought a Paragon kiln, and began experimenting. A few years later, I went to a beginner course at Bullseye Glass, and found out what I was doing wrong. Just recently, I've started selling some of my pieces both on consignment and commission. I most enjoy making large plates and bowls. I'd also like to learn to make beads and marbles, and wish I knew more about making jewelry .
I have a small basement workshop, about 12 x 16' with a Paragon GL-22 AD kiln and a smaller Paragon SC-2, a grinder, a ring saw, two grinders, and lots of colors of Bullseye glass and accessory glasses.
I'm married with three children. Other hobbies include photography, cooking, and building computers. In my spare time, I'm a general surgeon and surgical oncologist, and CEO of a 160 member group of independent physicians www.EvergreenSurgical.com.
|Susan Schroeder||History with warm glass: Obsessed for
a little over a year now, self taught to date , so far have not moved
beyond jewelry-sized pieces, so the magnets are a natural fit. Will
eventually get some "real" training. Until then, I'll just
continue to muddle along with the help of the most excellent of resources
- the Warm Glass Bulletin Board and all who contribute to it.
Workshop setup: Half of a small bedroom, Paragon SC1, JenKen Mini Fuser (kiln size limited by current wiring), two grinders, Dremel with flex shaft, various hand tools. I am already planning the workshop in the house we will be building in a couple of years.
Glass: Bullseye in many colors, quite a bit of it iridized, and dichroic on Bullsey.
Personal: Born and raised in Kansas where I currently reside. Married, no two-legged children, five dogs, five planted aquariums, assorted cats. Most weekdays and too many "off" hours devoted to the care and feeding of file servers. When not involved with any of the above I can be found playing with silver clay, making dog collars, thread painting, or in the garden.
Magnets signed: SLS '02
|Tina Keller||I have been involved in some sort of
creative endeavor my entire adult life. I received a B.A. in Interior
Design and Art History in 1988 at Western Washington University. I studied
Fiber Arts and Painting and Drawing at the Oregon College of Arts &
Crafts in Portland, OR in the mid-90's. At that time I made a lot of
things that required a lot of laborious hand work, like bead embroidery,
hand dying silk, and hand quilting.
I worked for awhile managing the sales gallery at the Bullseye Connection and now I am the gallery manager and education coordinator at Firehouse No. 12 Glassworks & Gallery in Vancouver, WA. I also have a beautiful 5-year old daughter named Emma, and a silly black cat named Kitty Bean.
I had never done anything with glass until I started working at Bullseye. I have come to realize, because of the turns that my life has taken, that the glass gods and goddesses feel that I belong to them. I am still very much a beginner when it comes to kilnforming, but am completely entranced by the interaction of light and color of glass.
18 Adams Street
|Tony Smith is a glass art hobbyist
from Massachusetts. He started working cold glass several years ago at
Dave Zaltzberg's studio, MetroWest Stained Glass in Framingham,
Massachusetts. Introduced to sandblasting by Dave almost two years ago,
and influenced by his engineering background, he quickly became enamored
by the technical aspects of glasswork. After firepolishing a piece of
sandblasted, iridized glass, he was convinced that sandblasting and fusing
were techniques that belonged together. He met Avery Anderson last spring
at her class on surface treatments and was further inspired by her
synthesis of art and technical savvy. Acquiring a small kiln last fall,
Tony has been exploring its capabilities and expanding his knowledge base.
He is currently investigating existing technology and developing new
technology for the niche market glass artist.
Tony is married to a surgical nurse and has two childrena stepdaughter, Jackie, who graduated from Rutgers University last summer and a daughter, Lori, who is a sophomore in high school. When he isn't in his "cave" working on glass or a "science project" of some sort, he spends his time working as a mechanical engineer for a pharmaceutical firm.
|Trish Vermillioin||My husband Tom and I are semi-professional warm glass artists. Our studio is Sandfire Studio. We both do works under this name although our approaches are very different. We live in Florida between Pensacola and Panama City. Warm glass is a second occupation for us. We love glass as a medium. We love warm glass for the challenge and the serendipity each time you open the kiln. I read the Warm Glass Board as often as possible. We hope to attend the glass convention at Las Vegas in March. It will be our first time at the show. We are looking forward to meeting other warm glass enthusiasts.|
|Worth Cooley-Prost||Worth Cooley-Prost works in fused
glass and mixed media in Arlington, Virginia. Largely self-taught as an
artist, she has studied kiln-formed glass with Judith Conway and several
other glass artists. Worth is a member of the International Glass Artists
Guild, National Capital Art Glass Guild, and Northern Virginia
With an academic background in the social sciences, Worth worked in human services in North Carolina before moving to the Washington area in 1980 to work in biomedical research. She still works as a medical writer and research consultant, and has published independent research, essays, fiction and poetry.
"I love working with glassit's beautiful, it's everywhere, and it's full of paradox. Most of my work is about connections of time, space and heart, and the value of looking closely. Looking closely can sometimes lead to seeing."
"My fused glass is hand cut from sheets of art glass, using my own designs, and fired in my kiln. At about 1600 degrees, the cut layers and pieces fuse into one solid piece of glass. The work combines ancient methods of glass fusing developed by the Phoenicians some 4,000 years ago with the space-age principles of thin film physics used to make dichroic glass."