When I wander through the local terrain, I am drawn to the land between the meadow and the forest, and the reflected thickets of trees and grasses in nearby estuaries. On the edge of the woodland is the understory of tangled shrubs, small trees, vines and plants that invite me in to observe their wild calligraphy. I explore nature’s versions of Jackson Pollock and Mark Tobey. During these times of observation, I am in the moment, and the noise and speed of everyday life is somewhere else. I find a respite from the normal chaos and can be just there, exploring the variations of color and line, texture and movement. I can hear the birds, frogs and rain, and take in the verdant scent of the forest. When I make art, I am also in the moment, and my focus is to bring my sense memories of the woods into the imagery so that I can find that respite again.
My ideas begin with photographs taken in my travels. Sometimes there are preparatory drawings, and sometimes the photograph is enough reference, there are two or more layers of glass fused together to make the finished work. The images are drawn using glass powders and crushed glass called frit. The sheets of glass are fired multiple times and additional glass material is added during each firing. The surface and color of the glass changes as it goes through repeated firings. When each layer has the right amount of material for what I want to achieve, the pieces are fired again at a higher temperature so that they become one piece and have actual as well as illusionistic depth. Some works are developed with individual full sheets of glass, while other works involve partial sheets of glass. Layering the image and slowly building it from background to foreground. Small branches and grasses are made by flame working stringers, thin rods of glass.