Taking a Leap

5x5 fused glass, In Progress (after 2 firings) 

6x8, in progress, not yet fired

6x12 in progress, not yet fired, first attempt with the glass paint I have been developing.

In progress, experiments with glass paint continued (left 2 pieces) Poppies in progress, 2nd firing

Here are a few recent works in progress, most need another firing or two with additional detail.  I've been working on a variety of ideas lately, but I enjoy working from older black and white photographs I took years ago.  I am continuing my experiments with pigments and fluxes to achieve a paint with a viscosity that I am comfortable working with.  It is time consuming with lots of trial and error and failures, but with each failure I eliminate another variable.  As an added and unplanned for bonus, after taking the pastel workshop last month, I was inspired to also try to develop a line of pastels for use on glass so I am also using the pigments and experimenting with various formulas to achieve a usable pastel that can be fired on glass.  I have learned quickly that accurate measurement and precise note-taking are a must, something my ADD brain fights daily.  I owe much thanks to my good friends Gloria Moses, Laurie Mueller, and Trish Lyons Ansert  who encourage and inspire me to keep trying new things, offering much needed positive input and support.  My new kiln will make a huge impact on the direction I am able to go with my art.  And as always, I am grateful to my loving and patient fiance who trusts that I know where I'm going with this thing called art and taking a leap of faith that I will someday make a living with it :)

Finally, great news! (I saved the best for last) 

I received some unexpected news yesterday (coincidently, or perhaps prophetically, while I was picking up my new kiln at the time)  A couple of months ago I applied for a workshop at the Corning Museum of Glass in Corning NY, located in the Finger Lake region of Northern NY. CMOG is the world's largest glass museum and home to The Studio, an internationally renowned facility that offers glass making classes from some of the top glass artists of our time. 

I applied for a week long workshop with artist Catharine Newell called "Taking a Leap"  Catharine is renowned for her use of glass powders in her work, a direction I have been taking recently.  The Corning Museum offers a scholarship program to cover the cost of the workshop and hotel costs for the week, including a day before and a day after the workshop to utilize the research library and museum.  I did not expect to be accepted, let alone get a scholarship for $1,500, covering almost all of the expenses of the week long course.  Needless to say, I am very excited for the opportunity!   

In Like a Lion, Out Like A..........

As most mid-westerners know, this winter has been a real bear.  Over the course of the winter, the cold has driven 2 possums, many feral cats, and more recently a skunk into the barn.  The blue jay family warmed themselves under the dryer vent, and the baby doe I stumbled upon in the thicket near the garden this winter are all indications that this will be a winter to be remembered for years to come.  What would the fox say? (I know, terrible joke, but I bet the song will be running through your head for hours to come)  I love poking the proverbial nest.

This weekend I got out of the house for the first time in months....I met 2 of my favorite art peeps Gloria Moses from Chicago, and Trish Lyons Ansert from Louisville in Toledo for a 1 day pastel class at the Toledo Botanical Gardens, hosted by the Toledo Artists Club with pastel Artist Mary Jane Erard. When I saw the posting on facebook for her class, I knew I had to attend.  (No, I am not a pastel artist, I've never painted with pastels, but have given it a few pathetic attempts in the past, only to end up with blurry mud, but I was drawn to her clean colors and very defined lines, brilliant landscapes,and more importantly, it very closely matched the look I've been experimenting with recently in glass.  (more on this later)  I needed a diversion from the experimentation and intense (almost studious) things I've been doing in the lab, (oops, I mean studio) for the past few months.  I've ordered more things that end with "ate" and "ide", complete with health warnings, and use alpha numeric name that rivals my college chemistry course (that I failed).

Mary Jane's course was a perfect respite from the worst winter I've seen in my life (and this is coming from a true Yankee; a New England native who remembers studded winter tires, mile long treks up the mountain with laundry and groceries after the car got stuck at the bottom, and snow until the end of April)

Mary Jane's subject matter, her sunny disposition, well laid out examples and materials and a day in beautiful Toledo Botanical Gardens, albeit frozen, were just the re-charge I needed to feel inspired.  I plan on taking next months class (unless I have a track meet to attend) and many more in the future.  Please let me know if you want to join me!

Here's a bit more news on what I've been up to.  If you are not a glass artist you will likely just want to skip the rest, lest your eyes glaze over in boredom.

As a glass artist, turned oil painter, turned glass-oil painter, I have striven to find the exact medium that fits what I want to accomplish in my creative endeavor.  I have been experimenting with "painting" on glass for years, but after trying nearly all available commercially made materials and or enamels made to paint on glass (and fire to fusing temperature)(not oven temp paints) I have given up on the idea that there exists a product that encompasses not just my goals but the palette and quality that I seek.  Realizing this, I began the painstaking process of breaking down the elements and properties of glass (90 coe for simplicity).  In the process I've stumbled upon many an artist that "paints" in glass.  The stained glass artists paint, but not in the way I would like to paint.  Frit painters "paint", but that is layering and sifting.  Yes it results in a painterly look and effect, but its not painting like one would paint with a brush.  Sgrafitto is more drawing and likened to printmaking.  I went through all of the above techniques, but in all of them, I am forced to think like a glass artist first, not a painter.  I am a painter.  I want the freedom to paint instinctively with a brush and a single stroke, on an easel, on glass, with paint that will fire to fusing temperatures and achieve the look I seek, as a glass artist and oil painter.  Perhaps I am asking too much, but I don't think I am.  This quest has led me to more college science department websites than art sites.  I've learned much, but there is much more to learn.  While I experiment and make mistakes, I am learning.  Every mistake is costly, but I learn something from it.    I will post some trials and errors soon for those interested.  For now, I am happy for the return of my easel's long winter visit in Kentucky, and the generosity and trust of a friend who allowed me a "payment plan" to purchase a much larger kiln to explore my dreams......stay tuned....