A few weeks ago I wrote a post detailing a project I was doing for a customer. I was taking a vase and drilling it to allow for a light kit to be placed within. It was the culmination of a dream I have had for my work that is years in the making. The pics were shot from my phone camera, good enough for the freshness of the moment as I went along. But what began so simply has grown legs and sprouted beams of light! This job has become the genesis of something much larger and now I am crowd funding the production costs for this project to bring this much needed piece of beauty to the market place!
The effort has behind it a wonderful piece of artglass that uses a proprietary process that makes the glass look dimensional, like…well…earth….except this all happens within a layer of glass that is less than 1/16 of an inch thick. This line of work was first made in 2003-4, so in a sense it is a seasoned performer for me in my glass studio business. What’s new is how the glass looks when it lit.
First, the piece shoots a diffuse shaft of light up onto the ceiling. The color of that light is white while the rest of the light radiates through the body of the lamp, turning the light also into a room centerpiece. If you like the feeling of a warm fire at night, this light is just for you! The feelings that have been used to describe this light is “calming,” “centering,” “warm,” and “great for meditation rooms!” It is both artglass and light feature all in one.
To read up on the beginning process you can read the post titled “Getting Lit” HERE.
The large lamp (shown) uses a 60 watt fluorescent bulb, is U.S. electrical code compliant, and is switched on and off from a handy switch on the cord. The cord is 9 feet in length. Every piece is also signed and dated by the artist. The design also makes changing the bulb a snap. I am currently in the process of garnering support from bloggers, friends, and lovers of all things light and glass to help spread the word. Raising money in the way that I am means a community. Ready to change your concept of what community is all about? Is community local? Is an idea local? How do we make an idea one whose time has come? THAT is where you come in, dear reader!
In the days that follow check back here to this post to find new links to the campaign, more pictures, videos, as well as to find out what is in it for you (like glassblowing opportunities, custom made work, a special limited edition Christmas ornament or sun catcher!), there will be a bunch of juicy premiums I will be giving out for those who donate and who want to take this effort to the next level!
The first link is to the preview page for the campaign. As of this writing, it is mostly text, but that will change as videos and pictures are added. See the campaign on Indiegogo HERE. My hope is to spread the word about this project and product and if you are a blogger with an interest in making American Made a priority, or if you love all things artisan or glass, or cool design, this is just the arena for you! Fire up the engines! Calling all believers!
You can also get updates via facebook by “liking” the business page for this campaign HERE!
This is a copy of the campaign poster in its current state….
All drinking jokes aside, this week was one that was kind of big in one of those perfectly understated sort of ways. It made a big splash, though, as people began contacting me about this new idea I was working on. It has been….gosh…. maybe two years in the making? It seems that this happens a lot with me. It isn’t always because of laziness, but just how things seem to happen. But the funny thing is that they almost always wind up as amazing for some reason, these back-burner ideas. The really popular ones…In 1999 I came up with an idea for a galaxy inside of a rock, which I made the first prototypes for that year. The pieces I made were interesting, but they were not worth writing home about. Not for me. Not for a business that set up shop in fairs all across the country whose success was necessary in order to support a business as well as a family at home. For an artist, this is an order that is tall and is something you are always having to make strategic decisions about in order to keep the business solvent. One or two flops can result in wasted time, lost revenue, and a sputtering business.
So this piece was put on the back burner and after a couple of years were pulled off the back burner during a slow summer. This piece has evolved, though, from a time-consuming glass piece that took 40 minutes to make each, to an awesome design made in six minutes with an assistant. This goes to show how things can change in ways you could never believe could happen. When you are blowing glass at 40 minutes per piece , it is hard to believe you would be making them one every six minutes. So that is the backdrop behind this next piece I am going to show you that got made this past week.
The story on how this piece came to be is an interesting one and shows that good things come to those who wait.
It was about two years ago during the holiday rush when I was hosting a long line of people who were coming into the studio to blow ornaments and suncatchers for the season. This is a huge amount of fun for people. I have figured out a way to help people to make beautiful glass ornaments with just a few steps done by me with the bulk being done by the customer. When you consider that it literally takes years to master this art/craft, this is kind of big thing for people to have access to glass. It was during this that an old family friend, Ann Roberts, who teaches at Radford University and who I worked with the Glass Garden (see the archives) came to the studio with a group of people she put me in touch with who blew glass at my studio. While she was at the studio one day during the holidays, she was looking at this one vase I had. It was priced as a second. I explained that it had not turned out right. Everything about it was technically right, the colors were off. The colors had been laid on too dark and this made the piece….well….kind of muddied and dark. I held it up to the light and saw that it looked fabulous with light shining down into it. Pity it was not a lamp, I said. Ann then said something about maybe turning it into one. I had actually had this idea for years about making my vases into….LAMPS. Beautiful stained glass windows of lamps…custom creations unlike anything you have ever seen. And the idea for this project was born!
We talked enough about it that day when she was in the studio that it was decided. I would hold onto her vase and would drill into it and try to light it from within. Ann was game and so was I.
Things have been up and down and up and down since then in keeping the studio open. The economy has not been helpful, but it is true that hotglass is one of the most expensive fields to go into next to jewelry. It takes a lot to get a studio operational and keep it operational. It is a challenge. But I like challenges, and it is one reason why I was able to run the studio full-time for over 12 years until my shoulder injury shut the studio down for a full year, with efforts after that resulting in sputtering. Penny-wise and pound foolish. Yeah.
So even though the studio has been in hibernation, I was able to afford a special diamond bit that would allow me to drill out this vase for Ann. Then, a couple of days ago, I headed to my hardware store with vase in hand and got the materials I needed to light this piece up.
The result? I took pictures. Its an amazing piece, a wonderful idea, a great concept. But one thing that the pictures don’t show is how the lamp affects the space around it. THIS is the really cool part! The same warm feeling that you get when you start a fire was the effect that this vase had on the space. It created a warmth and a feeling of peace. Cool, too, that the bulb was a fluorescent. Normally, I would not use these for glass. I have this love-hate relationship with fluorescent. It is cheap, but it’s also not a full type of light. It is a gas that gets excited. There is something wan about this light, I have always felt. However, moving through THIS glass, the rules seem to have changed. And this is good because it makes this design efficient.
The vase shot a brilliant white orb from its interior up on the ceiling and the walls were bathed in its golden glow. This was something I was expecting, hoping for actually. There was a great satisfaction standing there looking at how the ceiling was washed with this nice white orb on the ceiling. It created the kind of diffuse light that I have ALWAYS liked. Maybe it comes from my days working in a painting studio with northern light. This kind of light always strikes me as festival lighting. You know what I mean when I say that? In the waning light of the winter, we have these festival and feast days. Thanksgiving, Christmas, New Years. And having candles out and the fire burning bright just feels….cozy, right? This was the effect this piece had. Perfect! I have some final shots of the completed piece at the end of the post.
Highlights of red, orange, yellows, and browns helped to seal the deal as I surveyed the effects this piece had on its surroundings. The pictures are dramatic, but they sometimes can look more like a piece that is being lit really well from the outside rather than something that is lit from its interior. This is being lit, obviously, from the inside, but if I had not told you this, you might not have noticed. The effect on the space was magic. It was even better then I had expected.
So lets take a look at the results and I will try to get some pictures from my phone over here to look at so you can see a little more about the project. I will warn you, my phone pics are not the greatest, but they work for field work…
The first part was drilling out (near) the bottom of the vase. This is done with a wet feed drill bit embedded with diamond so the glass does not crack from the heat of the bit cutting the glass.
Then after this, I had to work out a solution for running a wire through this hole in a way that was secure and visually pleasing. This is the bare wire I had stripped, ready to be wired into the light kit…
I had to come up with a custom solution for fixing the wiring in the glass. The solution that I came up with worked the first time, which was nice. Sometimes these things wind up becoming a hunt for just the right thing.
The wiring was pulled out enough so that once I installed the light kit the light bulb could be pulled out of the vase to be changed (not everyone could get their hand down inside the vase).
So the wire length is set in the pic above and the light kit will be attached to these bare wires. Vase drilled, and the wiring fixed in the bottom of the piece.
Now its on to wiring the light kit. But before I do that, let me show you a shot taken in the afternoon light on my living room floor as I worked on all of this that shows how the wire is secured in the piece.
So the fixing of the wiring will keep the wire from being pulled out from the interior of the vase. This is an interior view, below.
Okay. So now for the lighting kit!
I chose a heavy duty ceramic fixture that would give the light kit weight in the vase. Being a prototype, there are more improvements that I will make, but all of this is entirely workable.
Once all of this was done and I tested the light for proper operation, I installed an inline switch that will allow the user to turn the light off within a foot or two of the fixture itself. This is a heavy duty light switch that is the best on the market. It will last for years and is a nice safe switch to use.
Okay, so the rest of the pics are of some quick pictures I took with my other camera!
What is cool about how I do this design is the dimensional quality that I can achieve, which is to say that when I combine colored glass powders with the other glass colors the effect has depth. The effect is different from most anything else I have ever seen in glass (that is blown thin like this piece). It comes from my relentless drive towards creating effects in glass that no one has yet done. No one taught me this, I had to develop it through trial and error, through what large corporations call R&D. I have been lucky in that most of what I have attempted has tended to yield really good results (even when tinkering).
There are, currently, about three different applications of this glass design that I am thinking about using for lighting. One is a torchiere-based lamp with a large sumptuous glass feature expanding out from the center. All of it, though, including the hardware, will have to be built from the ground up. the stuff coming to us from China is simply too light weight for something of the kind I will be making. So yes, expensive, but yet, one of a kind. Unique. There are people out there who value this kind of thing still. Something so visually arresting and unlike anything else that it makes a statement in the room. This is what winning design is about; winning designs help make a room. Take a lamp like this out of its space and you are left with a visual vacuum. Being custom, it has a look that is just….different. The knobs to turn it on are heavier, made of better materials. the knobs do not wobble in their normaly cheap housings. They are sturdy. Being the Rolls Royce of lighting, everything is built to last. This you know you will hand down to your children, to your grand-kids. People will talk about it, noticing it upon entering the room. “Where did you GET that?” are the words so often said.
The other design is a more traditional table-sized lamp that includes a base that is lit just like this vase, but that also includes a lamp shade made using the same color design, but with a bowl/shade that it inverted over the upper portion of the light to create its sumptuous glow. This one will have at least three high intensity lamps up inside the shade with a dimmable feature. The base will be broad, made of a sculpted bronze fitting that will give the entire design a nice stability. It will have a masculine warmth with a cast bronze central shaft but with a verdigris patina (which is blue-green) to contrast and compliment the warmth of the glass. The result will be striking and fabulous. Interested in Art Nouveaux, I would design the base to have an organic effect, but not a rehash of the wonderful but now-overplayed Tiffany era bases which we have all grown to know. Maybe I will call this Retronouveaux. It will have a heavier build, which gives it a greater balance between the feminine undulating forms and a supportive solidity which will give these works something that the originals did not. They didn’t need to.
This, though, is how these things go. They often are the result of a number of interesting events that all combine to create something that is not always anticipated. Now that this is out there, the question is where will I be able to take this…
What’s next? Well….I need to get the studio running again so I can make some of these pieces. That means ordering the glass, getting propane to run the reheating furnaces and paying for electricity. Then after that, I have to work up waxes to use for the forms that will be cast in bronze. Then after that, there is the investment casting that has to be made (this is making the heat-resistant mold that will hold the 2,000 degree bronze once it’s poured). That, though, is enough fodder for another blog post!
Perhaps what is in order is a crowd funding effort to raise the funds to bring this design to market. Now the question is, do I keep this on the back burner or strike while the iron is hot?
THANK YOU!!!!!my followers, fans, friends, enthusiasts, dreamers and makers of glass! Without your humor, engagement, enthusiasm, dreams and innate creativity, I could not do what has been achieved these last few months. Without your desire to discover your own creative fire at the studio, I would not have had the support that made everything that came out of this season possible! It was you who wished to come blow glass in great numbers with one person’s story inspiring still others who kept coming, inquiring, if it wasn’t too late to sneak into the studio to make your very own glass creation. This, one of the most ancient of arts springs to new life with every eye that be holds it, with every hand that gives it breath and form. The support your enthusiasm has given has made new wonderful creations possible. I merely provided you the means, encouragement and what I myself have learned directly from this ancient material that transforms sand into light. Your own inspiration is breathed into my own as what you do brings life to what I CAN do or make possible within the timbers of this house of glass, this studio, this workshop, this haven for inspiration, hard work,discipline,discovery, and awe. Only because of what is most native within yourselves has any of this happened.
Yesterday, facing the last work to be done in the studio in who knows how long, I chatted with a friend about glass. He asked if he could come sometime t blow glass with his wife. I explained if he did, it would need to be in the next few days because I didn’t know what the weeks to come might bring. Classes at the university that have been regular as the sunrise went unfolded and a key financial resource was, for the time, lost. What was I going to do Without this buffer for keeping the studio running when there were no orders to fill, but glass that still needs to be made for still newer opportunities for support, sales, and continued creative output? This man and his family loved what they did. It was quite simply unlike anything they had ever experienced. And here it was, just ten minutes drive from their home In the New River Valley. Today as I delivered the pieces to him at his work, he excitedly asked me what my plans were for the next month. He explained that he had been talking to people he met about his glass experience just last night and he had MANY people all wondering what they could do to make their own glass? This man comes into contact with hundreds of people each and every morning shift as a Barista at one of our local coffee shops. Chatting idly, he had created a mini flame if interest simply because he had come and had such fun. It is people like this, just like you, who have held up their creations of glass and smiled while showing your friends what a great time you had…..and THIS has been the thing which does it. This is the planting of seeds, of spreading the word and watching as the fresh rain of spirit nurtures all of this so naturally.
I get to live in a world flush with enthusiasm, passion, wonder, and awe. THIS is what my clients bring to my studio, to my end of the world. For this and more, I Am so very thankful. Now I stand at a place where it feels as though the universe is opening the doors wide, perhaps uncomfortably at first, but it seems to be doing what it always does—asking what great things await ahead of me? So with this I reflect on what even greater things might await that will continue to press the studio forward into a place of greater sufficiency? I am considering a crowd funding campaign in order to put the studio into the right resource territory it needs in order to run effectively. While I have had a lot of people take workshops, these are all constrained by what people are able to pay, which is always much less than what can be produced by me as a production glassblower. Consider that to make your own sun catcher ornament it costs $30.00 a piece. Each takes half an hour to make with one on one instruction. Now consider that in that same time I can make those same pieces at a rate of one per seven minutes. This is the unrealized potential of the studio which is currently limited by not having the right resources to lift it into this next level of operation. Whether blowing or not, it costs $60.00 a day to keep the glass hot in the furnace, ready to blow. Turning a 2100 degree furnace off for the night is not an option in the glass world. So what is needed? I will be describing what has been done this and last year to move Stafford Artglass into this new arena and I will explain what remains, which will form the basis of a possible crowd funding project. For ten years the studio was self sufficient and I sold work to galleries, through art fairs and craft fairs as well as open studio events. This activity needs support and prior to a move to a new studio and a subsequent injury, nothing has ever been the same because the level of support necessary was never where it needed to be in order to do it right.
I was telling a friend who owns a business how it took nearly $30,000.00 a year before I made my first dollar of profit in glass. He turned to me and smiled, saying, he had to generate a million dollars, thereabouts, before he could Buy his first hamburger. Now that sure put things into perspective! And yet, the underlying reality is the cost of bringing all of our products to market. It’s not cheap, and yet, this is the reality of business. What I will be doing is looking at a number of funding options, including local foundation grants for specific aspects of developing the studio operation while also developing a crowd funding strategy. What you can do,quite easily, is to tell people, just that, to your friends, family, acquaintances, and perhaps even your clients. In networking, you never know where a resource will emerge. Like Doug, who unexpectedly spread the word to dozens of people all in one morning, you never know where a spark of interest might reside. Show them the efforts and work on this blog. Do you like what you see? Do you think this type of creativity is worth supporting? A thousand people giving less than ten dollars is enough to move mountains, and these people all come from spreading the word. So stay tuned, stay in tune and consider the possibilities, because so much has already been achieved and there is a little way yet to go. And thank you for reading this, for wearing your interest and passion on your sleeve….evidence inspires us all! It is through these simple acts that great things come into being! Today, I give Thanksgiving for all that my supporters have mustered and look forward to what tomorrow will bring!
Over the last few weeks I have been busily working developing a new line of work. This work employs a process made popular by Louise Comfort Tiffany in the 1800’s called fuming or irridizing. This process became a signature of the Tiffany style and has been repeated many times over because of its intense popularity. I have always said that I would not fume my work, and quite recently I went back on that promise in order to investigate this method to see if I could create new interesting forms that break some new ground.
Doing that is not easy to do. There is a lot that has been done…millions of processes and combinations….Some would say there is nothing new under the sun. Perhaps it is true….until we actually come up with something new. To that end, I am giving it my all.
Yesterday I went into the studio with the intention of doing what I have always done in glass, which is to bring a
sculptural sense to my work and giving the forms a different kind of quality that sometimes departs from traditional vessel forms.
The forms I came up with were an effort to create seashell like forms with the abalone shell being one of the chief forms for inspiration. I grew up on the beach as a child and can remember many small oblong and rippled shells that had beautiful mother of pearl interiors. I am in truth recreating that moment of discovery on the beach some 45 years later with this body of work.
What I am doing are making relatively small-scale pieces that I can control and work into shell inspired forms. A lot of this has to do with making the pieces off-center and breaking a lot of the rules that make blowing glass feel comfortable and “right.” So much of what we learn about glass blowing has to do with keeping a piece centered. So much of what I am doing now is knowing how to let a piece drift of center in just the right way in order to develop a sense of asymmetry amidst the natural order that is symmetry. The work is in its infancy and yet I have enough ideas and directions to keep me busy for a lifetime. Lucky for me, I am impatient and like to try new things and make new work so I guess I am making work for someone else to do in another couple of lifetimes!
I hope you enjoy looking at the pieces. They change so much in light, as some versions of the same piece in this post reveal.
All of this is fun and exciting and there is so much more to do, to make and to explore and discover. This really is the most interesting part of design work because everything is so new and the possibilities are endless. The key to creative viability I think is remaining fresh and new. As old lines of work are being retired in my studio work, new lines, like this one with a decidedly oceanic bent to them emerge. The tide comes in, the tide goes out. In the interim it leaves new treasures for us to see and explore….seashells and all manner of flotsam and jetsam to pick through….
If you like this work you can see more of the earliest work that was first done a few weeks ago in the post Breaking New Ground. You can also see and interact on my facebook business page by typing in staffordartglass.
Please contact me directly for studio hours: our work is seasonal and sometimes the studio can be down for repairs, for example. Some days we are blowing glass while other days we are running errands or away at a show. Let us know when you are free to come see us and we can work something out that works for you.