I am an artisan. It is true. I make things. Objects of lasting beauty. I studied for years to develop my skill and facility for the craft of working in glass. Many burns, many thousands of dollars in color tests and R&D. The term “artisan” has a proud ring and a history behind it. I would be the first to admit that there is a craft to other non-art or design related fields such as cooking, for example. I would not however agree that this makes someone who cooks bread an artisan. Or someone who mixes drinks. The problem is that people have glommed onto the idea that they can somehow elevate themselves by taking on or co-opting the term “artisan” in a bid towards delicious trendiness. It has worked.
But I don’t like it.
What has elevated one group has served to lessen the value of what we as artisans do day in and day out. We make things….yes….but we aren’t making mixed drinks or bread or things like that. We make furniture of exceptional quality. We make wrought iron that hovers at the station of art like a glorious phantom of etheric sublimation. Tumblers that entirely escape being JUST tumblers but canvasses for a world of wonder visually. Tell me you artisans of bread and martinis; are you doing this with your materials?
So I will be the first to say I am a little grumpy about this whole artisan business. I am grumpy because its like how someone dresses up to go to the opera only to be cat-called by a bunch of ruffians on the street. Imagine that. Now you know how I feel. yes, I know maybe it sounds like I am being elitist, but really I am not. It just seems to me that the clothes do not fit the people and seems a little overdone. And silly. It is like Mrs Smith down the street introducing her son who digs ditches as being an excavation engineer. It isn’t that I am trying to put people in their place, it is that the words used just don’t fit and are deceptive.
The term of Artisan is getting used left and right and is now showing up more than the old use which is what I and my contemporaries have been using for years….centuries, really. You can see what I saw when I was doing a search for Artisan Blogs recently. Here is what I saw (many browsers now allow you to click on the image to see it clearer and larger….give it a try so you can see the screen shot from today a little more clearly) :
Yes, so there you have it. Wine. Bread. Martinis.
See, the thing is, I do believe that we can and should change the language and the associations that we have with words in order to keep things up to date. This is a meaningful pursuit, most certainly. However, what has been done to the artisan in the name of popular cuisine is simply sad for me. For the amount of work I have put into my discipline. The blood and sweat and tears. And before anyone from the cooking shows and cooking blogs raises an eyebrow or clears their throat in objection, I will be more than happy for you to object once you have spent a week in my studio doing what I do. I have already done what you do; I will be making bread in a few days and I have certainly made my own wine and beer. I know the care that these things take, but they are not on par with what I do with glass or clay or stone or molten bronze. Or what others do with stone or wood or silver. Or yarn. Perhaps what you seek is craft. But artisan is a bit over the top, don’t you think?
When I first began my business I discovered that my production created or required a pace that was unlike anything I had experienced up until that time. I had come from a graduate program where I blew glass four hours a week. I was able to stretch that time because I had the last blow slot of the day which went from eight until midnight. I had access to ovens that were what are called long cycle which did not get used very much. The scheduling of these ovens always made it possible for me to continue working on until two or three into the morning….which I often did. Every object I made was special. Each one marked a transiting from one level of ability to another. When I began working 10 to twelve hours a day in my own studio, I would blow as many pieces in a couple of days as I would have blown in an entire semester when I was at school. The arc of development is very rapid in the beginning and often has a tendency to slow as skills are accumulated. After that, the leaps or strides made are often from moments of pure inspiration. It sends things in a new direction and the skill set may be enlarged, stretched, grown, even unexpectedly. Hopefully as an artist, we all get that new growth added to our old growth.
When you make things like I do, I find that the way I look at objects, especially the ones I make, is very different from anything I knew before. In a week I might have a hundred of one thing move through various stages of grinding packaging, shipping, or blowing or conceiving. It can be very easy for these objects to be just that; objects. I can’t live in such a place where everything is debased in this way. For me what I make wont EVER be just another object. I might as well be selling T-shirts or tires. To do what I do I realized I had to love what I do, love the designs I make (a good design might mean making that work thousands of times), and love the lifestyle the work affords me. By that I mean that it gives me flexibility to not have to work a nine to five cubicle job. In fact, the time people have off from their nine to five is most often when I need to be available. That is nice because it means that I can be off when others are working which makes going to the store or driving down the highway very easy. It also meant I could attend my children’s performances as children in school, art exhibits, talent shows, and other things with my family that were valuable to me. In truth, I worked 70 to 90 hour weeks in my work, so the time I had to do these things was very important.
To create, to produce in this way requires a level of love for the job, the life, the work and way of life that it elevates it or vaults it beyond anything that I have experienced before. Work and worker wind their way into one another. Everything I make I have to make with love. Glass is funny like that; when I am in the groove, I am also feeling the love. When I am not, it does not flow and the work most often becomes difficult. Weird things happen. I lose pieces. Taking a break, I can often return to the glass soon to continue working. This is no ordinary kind of job. I could not do this work if what I needed or wanted was a nine to five job. I can easily work twelve hours a day seven days a week. I have worked much more at other times. The only way I could do that was because I loved what I do. And this is important. If you come to the swamp, as I tell my students, you really ought to go ahead and wrestle some alligators. This means to me that if you are going to go to the trouble of doing art -or in my case craft- you might as well do it up. Make something remarkable. Cool. Awesome. Make it worthwhile. Don’t just mark time. You never know when you wont have that time anymore.
Many people look at my way of life with a mixture of envy and admiration. They see the work all finished and clean in a gallery environment and can’t help but admire. The truth is, though, it takes wrestling some gators. Sure enough. So in order to do this kind of thing, you really do have to love it otherwise it will grow old fast and wither on the vine. I am lucky since I have managed to keep my interest, a love, all these years and continue developing new work instead of stagnating. It is easy to burn out, wither, blow away. I have gone through burn out several times in fifteen years of business. The last one had me wondering whether I even had love for this anymore. My priorities were askew, I found, that the hardness of art and craft is such that if you do not love it, truly love what you are doing, it can be a hard ride. Love makes it worthwhile. Maybe in the corporate world that just sounds like silly fluff, weak pasty talk. Some of us believe that it matters what you do, what you make, design, create, and even leave behind. Those who care aren’t the strange ones. There is a whole lot lost in the world if that isn’t the case.
In a day when industrial giants seek to produce at ever larger scales, it is really nice to see studios producing handmade in the way they are today; high quality and with lots of good design and a whole lotta love.
I esteem objects that are made well.
I love objects that have great design.
I like design that makes using an object more fun. As humans we like to decorate EVERYTHING, so its nice to see well designed chairs and clothes and brushes and rugs and cups and a zillion other things big enough to have something different about them beyond mere utility. I even don’t mind poor design when I know the artist is trying to make the world a better place. We all have our own tastes. When an object is made with love, it emits an energy, a sense of aliveness and presence that you can FEEL. This turns a simple tumbler into a holy grail experience. It can. You just might be surprised what a little love can do to your day and the objects that share that day with you.
I came to wrestle alligators. Its not easy always. Sometimes you doubt yourself, why you are even here doing this. No one else is there backing you up; you MAKE all of this happen. By hook or crook. But that is just it; it is like giving birth….you have to WANT to make things and to see them from beginning to end. And get them done. On time. I actually like to improve the quality of life by making great objects. I believe that by imbuing my work with unusual, unique and powerful design concepts that I am actually dispersing mediocrity one object at a time. i do not pause to think that perhaps we have enough stuff. It is ALL just stuff. And since it ALL just stuff and things, we have a duty as artists and artisans, I believe, to make those objects worth the while by being interesting, creative, excellent, usable, amazing, remarkable. And even if it is just ONE of these things, it passes. It is good. It is good because it does not let through the door anything less than something that says clearly that we don’t have to be slaves to the mediocre world of the mass produced and unremarkable cheap object (that likely pollutes a country beyond sustainability just for having the industries that make the things they do that are so cheap—there is always a price even if you are not paying for it at the store). I don’t think I ever wanted this to be easy. I wanted it to be satisfying. And today was satisfying. Hard work, long day, lots made. If it were easy maybe everyone would be doing it. Maybe that leaves me a little more elbow room for wrestling that alligator.
What we make says a lot about us. As a culture. As a person. A business. As an artisan. As a world. I esteem this and bring to it quality and uniqueness. We should all live life like its worth living and that today could be well be the last day we get to spend on the planet. By bringing that level of engagement, we also bring our heart and spirit in a much more tangible way. Call me old-fashioned, but I actually believe that these things matter. Welcome to the swamp.
It’s not often that the little guy gets a big break. Artists often struggle to get their work to stand out, to be seen, to get a chance to rise to the top, to be known for what and who they are. They are, after all, very small businesses. In rural Southwest Virginia, that is exactly what one foundation has sought to do. No compromises, no shortcomings, no disappointments, no big stuffy boards that oversee a project and have their OWN ideas about how the arts are best served, all without really understanding what’s really needed. Someone was able to bring a vision to full fruition. Now that vision needs everyone’s support to help push it forward in its search for becoming self-sufficient, and is one reason why this blog entry fits in so well with the purpose of this blog overall, which is to highlight great design wherever, and whenever it happens.
Over the last five years or so, there has been an initiative on the part of Todd Christianson to develop a “family” of organizations that will help bring the artist and artisan to the attention of a wider public. By being the driving force behind this effort, he was able to garner the state money and grants needed to get this lofty concept off the ground. He also brought into being several organizations that all help to serve cultural tourism in the region of Southwestern Virginia. These organizations include The Crooked Road, and ‘Round The Mountain (home to Heartwood Artisan Center). The former organization promotes the roots of country music in the region of Southwest Virginia by developing and promoting trails that lead to some of the best kept secrets of the music industry, and also some heavy hitters, too. Who knew that you could travel back into time and find fiddlers gathering on porches and in barns to perform like they did way back in the day, untroubled by the hype and commercialism of modern capitalist attitudes that so often destroy and wreck a good old thing? Not so in our neck of the woods; The Crooked Road has been met with fabulous success and has helped to push forward his efforts for ‘Round the Mountain. People sign on and travel its windy roads to reach the homes of musicians now rising in popularity. Ralph Stanley himself is associated with this wonderful piece of culture and history, along with a host of up and coming musicians now making names for themselves.
At the heart of all of this lies the jewel in the crown of Southwestern Virginia culture; Heartwood Artisan Center, which is located in Abingdon, Virginia. Part of an ambitious 17 million dollar project, the Center sits along interstate I-81 in a town known for other great cultural institutions such as the Barter Theater. The artisan center is a 30,000 square foot structure with a cool and regional theme that is an eclectic blend of sensibilities: the building looks like a barn split down its middle with a silo to help add to the effect. Very simply, it’s a remarkable building to be in. It blends a feeling of the barn with a feeling of some of the most up to date technology. All around there are kiosks with video monitors showing images of artists at work, musicians in concert, and pictures of the sweeping panorama’s that this region offers. The floors have wood planking that were made locally. The stone for the building was quarried just miles away. The entire building is stocked with the work of artisans from the 19 county region that the organization ‘Round The Mountain serves. From inexpensive jewelry to locally made produce, music cd’s and a rocking chair that fetched over $4,000.00 for its maker there, there is something for everyone. All artisans who have juried and have been accepted into the individual artisan trails that are part of the overall vision of “Round The Mountain, are able to exhibit at Heartwood. Think of it as the outlet for all the artisan trails that the organization helped foster and build. It’s a testament to collaboration and community that this facility was able to get off the ground in the way that it did.
The building, designed by local SpectrumDesign, the engineer and architect for the building project, has a number of other regional projects that show a similar sensitivity to the building and identity of the organizations and businesses that operate there. It boasts a commercial kitchen for special events as well as an eatery all under one roof. To get an idea for what the building looks like, a picture is worth a thousand words. When you first see the structure, it’s so funky-cool that its exciting to actually approach and go inside. Once inside, though, the view is open, airy, cathedral-like even. It’s an inspiring and exciting space to be in for the interesting sense of design that draws on many different sensibilities yet never becomes maudlin or steeped in stereotypes. This is an interesting space, no doubt about it, and its drawing visitors on a daily basis to see what all the fuss is about. While there is a barnsy look, and while there is even a lofty look to the interior, you have to understand that a barn is a country cathedral. If you think you know what a barn is like on the inside I ask you; have you ever been in a barn so beautifully put together? Below and to the left, you will see an example of how the architectural design has helped to bring about a fusion of many different sensibilities all under one roof. This is remarkable. Gifted with plenty of space, storage, meeting rooms, offices, kitchens and display space, this is a wonderful achievement. The building is divided into two main wings with a central desk that serves to check out customers and guide visitors into the building. There is room for a permanent exhibit that helps to tell the story of fine craft in this part of the country. Beyond the main desk is an open area where visitors can rest, eat a meal from locally grown produce at their own eatery, and a second wing that hosts musical instruments, music cd’s of local musicians that are part of the Crooked Road. While embracing the design sensibilities of fine craft, there is a broad range of work at the Center.
Towards the back, or is that the front?…. The building is so light and airy that its open all around to the outside, a feature that gives it a four corners effect. But the space is soaring and open, rich and alive, cool and warm all at once. The lighting in the photo to the left was made by a member of the Floyd County Artisan Trail of ‘Round The Mountain (RTM) Crenshaw Lighting. With similar building techniques as employed in barns and even cathedrals, the resulting effect is inspiring.
Display areas are in the two wings of the building. This one, near the front of the Center, includes some story boards that explain a little about the history and culture of the region. There is a little something for everyone…from educational information, the opportunity to meet artisans during demonstration weekends, and listen to live music. The displays are laid out so that its easy to move through the spaces. It’s a great design and easy to navigate. When design is both intuitive and well thought out, it creates an affirming and enjoyable experience for visitors.
The eatery, located more in the center of the building, provides those who are sitting down to have a bite, with a view of both wings, and the opportunity to consider where to go next.
For my money, this is a great facility. It’s a great home for the regional artisans. It helps to bring their work to the public in a high-profile way. It finally honors the role that the arts play in our community. In the town of Blacksburg, which is a few hours west, the local University has been busy building an arts center. It turns out that this center will allow for programming to take place, but no room for artists, no consideration for their work or workshops. Its been the result of a very real disconnect between a very corporate kind of entity (albeit a state-run one) and the community it is supposed to serve. I contacted its director and asked what I had to do to locate my studio in their facility. There was never any consideration for such a thing. My calls were never answered. I wasn’t worth the time, or consideration, or perhaps it wasn’t something that occurred to its board which oversaw the conceptualization of the project. Its okay, though, because the arts begin at home, and whooo what a home RTM has made for itself and for the artists that they serve! This is an example of how big business can serve the little guy and gal, celebrating our culture, boosting cultural tourism, as well as the business of every artisan associated with it!
For more information on ‘Round the Mountain, The Crooked Road, Heartwood Artisan Center and the people who make it happen, you can visit these sites for additional information:
For a story about Heartwood and its recent opening, see this article (which also has a picture of a piece of glass made by yours truly). It includes an interview with Todd Christianson and other artisans.
If you who would like to learn more about the artisan trails that are part of this regional effort and the opportunities they offer to visitors all across our region, go here.
Support your local artist, artisan, and designer; its all local and made in America!
I’d like to take a moment and explain a little about this blog, what its about, what the thinking is that is behind it, and why yet another blog and why a blog about Stafford Art Glass. First off, I am an artist, artisan, designer, and educator. I write a good bit, having a 620 page manuscript in the works (which looks like if I can get a big enough crowbar could be turned into three books), have written some as-yet unpublished children stories and am working on a second book related to the first (this might be that crowbar I was looking for). I also write two other blogs on other subjects related to nonduality and I run a studio in the Alleghany mountains of Virginia. I am a father of two and my life has been turned around recently in such a way that I have begun to look at creativity very differently than I did before. Maybe I should say my thinking has blossomed a little more. While my interests are broad, I am keeping the focus pretty tight on this blog.
We very much need good things to help reflect our values in life. Everyone has different ideas, philosophies, and approaches. All of them are valid, of course, all have merit, and even if by looking over our shoulder at our neighbor we have trouble understanding some of them. The truth is, there is a tendency we as humans have that serves to lock out whole worlds of possibilities, and it doesn’t just happen in art and fashion. Our brains are designed to see the patterns in the chaos, and because of that, we like to hold onto those patterns, and often deify them much to our limit. We become biased and this bias closes us to the possibilities. This has a broad application in life, and this principle is anathema to being innovative or creative in my opinion. I very much love taking the most obvious idea or form and think how I can turn it on its head, turn it inside out, change it, reform and recreate it. This is part of the very essence of the creative, and its necessary if you are going to attempt to think differently, and have a chance at creating something new. By being able to innovate, we as creators and innovators can bring to market those products that matter and that tell the story in an entirely new way. Sometimes new is very very good, but new often is built upon the old in such a way that it changes the conversation, the very content of the past so that it can speak to a new generation. All great innovation is built upon this precept.
It might be a little silly for me to be titling this post “The Exquisite Object” because the truth is, one person’s exquisite is another person’s eeeew! However, I think that the better we can innovate and create the New, the better we are able to insert something into the dialog of our lives that has some meaning. Many strokes for many folks!
I am a glassblower, artist, as well as sculptor. When I think of glass, though, I tend to think of it as a sculptural medium, even though I often make very functional items. Glass can be a material that we instantly have certain assumptions about. Its a perfect example of how we can crowd out a world of possibility, as well as innovation and creativity by keeping our horizon limited. The techniques I use to make my work set it apart from the usual run of the mill glass that you might think you know. A lot of what I do, like most good designers and artists do, is seek ways to set myself apart from the pack. I also do what matters to me. If I did what sold, I’d still be making those god awful ornaments I took to New Jersey that one time that were, I thought, horrible color combinations and sold within the first hour of the Artfair! What I know is that I am looking for the right person for my work, and this falls entirely outside the design process and becomes a marketing issue, but it is a basic philosophical precept to how I operate. If I seek to please everyone, I wind up not pleasing myself, and asking just what on earth I am doing. So I stick to what I believe and out of that comes something of consequence to me and my customers. I do not look at the materials I use in a limited light; they are just that, materials, and can become anything. Sometimes the greatest ideas are waiting to be discovered and they are right in front of us. I don’t bring to my glass work any of the same biases that I found once I got into the medium.
Perhaps as a result of this orientation, I don’t have much of a purist heart in me because it is that “purity” that I also know in another language also means “bias” and bias is also a way of limiting yourself. On the one hand, you need FOCUS when doing art or design, but I have always sought a range of different sensibilities that have all informed one another or told different parts of a much larger tale. For sure, I am interested in certain kinds of design, don’t get me wrong, but I am restlessly creative, and this is evidenced in my enormous writing output over the last year as well as my going into teaching sculpture at the local university. Its more like I can’t tell the whole story in English, and I need four more languages with which to explain everything! This flies in the face of everything my teachers tried to convey to me early on, and yet, just like our need to find objects that are well designed and made that help express our OWN sense of style and design, so too must I range across a multilingual landscape in order to tell my own story! Besides, who is living this life, me or my teachers from long ago? Sometimes it also means sticking to your guns and not being afraid to believe in something.
I can remember a number of years ago when I attended a workshop by the well-known sculptural glass artist Pino Signoretto. That’s him at the bench with all the guys crowded around him. It was a demonstration workshop, which meant we all watched. I filmed the whole thing, hoping to learn as many tricks as I could from this great master. As I sat with camera in hand an attendee and I began to chat. He asked what I did in my work and we had a nice exchange that was pretty cordial until he found out that I also made these little sculptural pieces I call Andromeda Geodes and Inscape Geodes. For lack of a better name, these would be referred to as paperweights. With a change in his body language and a roll of his eyes, he said to me that he REFUSED to do paperweights and quickly ceased any conversation with me. He had, at that point, decided I was one of THOSE glass artists, and quite suddenly, I was beneath him. I remember being a bit surprised by the arrogance that was being leveled at me, but also a little happy at the same time. I thought that this was one less person to have to compete against, and how nice it was that I wasn’t so closed-minded about what glass could and could NOT be, or what was good or NOT good.
Since then, I have run across a number of glass artists who look at the subject of making sculptural glass the same way. Its largely from a place of ignorance, and thus bias, and the fact that “paperweights” are thought of as easy to make by those who have dabbled in them, which they can be, the act of bias, a very subjective activity in itself, closes off any intellectual or creative curiosity for some people. Its when we make assumptions about what we THINK we know that we can miss a world of possibility. In fact, many of the great discoveries were accidents that forced people into thinking about a given phenomenon, technology, in a different way. So often, we just get STUCK in what we believe is possible, or not worthwhile. Often, by turning something on its head, we can peel off entire layers of new material and possibility just by NOT assuming we know all there is to know. Truth is, we really know very little, but that ego of ours sure doesn’t want us to believe or be mindful of that!
Here is what I mean: paperweights are normally round, clear, and brilliantly colored. They are a delicious slice of eye candy. For me, though, I never saw the paperweight as anything with a history. I didn’t KNOW the history of these things. I didn’t grow up owning paperweights. I never saw them made. I didn’t know what you were SUPPOSED to do with them, or any of the traditionalist baggage that could have served to limit me. I simply came innocently into their grove and like a child, looked anew at what they could become. I had nothing that told me anything about any of this was bad, or more desirable than any other. I was a sculptor getting my M.F.A. and I was just taking glass because it was such a cool medium. I took a beginning glass class that covered the basics, but was so intimidated by the skill and knowledge of the other glassblowers in the program, that I wound up working alone much of the time. In some ways, it may have been my own loss from a technical stand point, but the flip side was I remained a conceptual vacuum where I didn’t always know what should or could be done. Normally, this way of working is not one I would even suggest as being productive for my students in sculpture, but I have to admit that it served me in a way that helped me to dream in a different way, in a more unlimited way. I learned all of my techniques pertaining to solid work entirely on my own. As a result, I did everything opposite from the way its normally done. Instead of making my “paperweights” clear on the outside, I made them opaque. The design on the outside wasn’t even a design, but a rock-like effect. Light did not dance across their surfaces, but instead they had a shell that obscured their interiors. I also didn’t make my pieces round. They were lumpy, bumpy, and organic. I was more interested in real geodes and how their surfaces looked. I wanted to make the glass NOT even LOOK like glass! Then, by cutting them open, I revealed their interiors, which were sparkling worlds and galaxies full of brilliance and crystalline beauty. Everything about these pieces has defied what the assumed definition of a “paperweight” is to the point that I often have trouble even calling them paperweights. People seem to need to have a way to peg them, so they get this categorization. The truth is, these pieces are hard to make.
Already, have had two artist attempt my designs, one who sought to adapt it to his own color effects and design sense while another has not taken my design very far from the tree from which it was conceived (which bothers me the most since this feels like theft to me). One of them gave up the work because of some technical problems that I faced in the work but worked through. It was interesting looking at his derivative work and being able to see that the issues I had worked so hard on to fix were still remaining in his version. A given type of work can be difficult to make technically, but the user doesn’t want to know about this, they want an object that they can use, and while part of their enjoyment is the “how’d they do that?” factor, it doesn’t matter much since its all just details. When people go to see a movie very rarely do they want to see a film about HOW the film was made; they just want to become absorbed in the art, in the story being woven. Regardless of the level of difficulty (or lack thereof), the bottom line is: is it exquisite? Is it finely crafted, thought out, does it have good design, and does it say something in a way that hasn’t been said before? If the answer is yes to all of this, then its a “go for launch.”
In my teaching, I try to get this across to my students. We talk about what art is, and while its a sticky wicket sometimes, part of what art is about is its ability to take an old conversation and turn it into a new one. Most great artists took what was assumed and turned it inside out. Duchamp took ordinary objects and said they were art, underscoring how important INTENT was in art making, while at the same time also using everyday mundane objects in an entirely new way. Sometimes it can also mean starting an entirely new conversation based on new concepts, new forms, and new ideas. Ultimately its about transforming the mundane into the profound, and this is no mean task. It means thinking different, and it also means not allowing the mundane to trip you up, or to believe that there isn’t some new way to go about making something so that it breathes new life into the artform. Its about not letting our biases rule the day because just beneath the bias runs the strongest and most powerful current we know; creativity. It also means stopping before you begin your eye roll when you hear of something you think you already know everything about! When we can learn to think different, we can also create different. When you can make different, you can come up with new forms, new product, new stories, new ways of seeing and feeling. This is one of the powerful sides of the human spirit, and that is a great thing to embrace!
So much about design and art is taking established guidelines or forms and creating something new out of it. Being able to break out of those old molds, modes, and ways of thinking is the essence of innovation, and that means design, too! To that end, this is in large part what this blog is about; innovation. As I write, I now have several new lines of work waiting for me to continue to tune and tinker with. The concept is well fleshed out, but the form needs to follow the function, and the function is the concept. How well do these two align? How do I pull on the idea of utility and art to create something new? What taboos can I break, or old notions can I leave by the wayside in the search for the next big thing? This is where the rubber meets the roads, my friends, and this is the very meat of what interests me most about what I do. In the posts that follow I will be discussing the processes and ways that have led me to knew work. The studio is a place of flux. I am not a factory, although the studio sure looks like one. It could be one, or it could be an entirely new model based upon a very old one, that of the individual studio artist and artisan creating new work just as they have for millenia. I might even manage to comment on the state of design in our world, perhaps in small bite sized chunks!
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.