The campaign for the Gaia Lamp is swiftly getting underway with a link to the campaign on indiegogo. Right now it is in draft mode, which means that I am making adjustments and changes can be made. If you have suggestions from perks to ways to tighten up the copy, I am all ears (and eyes)! This new design is really great, bringing to your homes or someone whom you love, a warmth and creative flair! Its art glass AND lighting all in one! Everyone who has gotten to see them have all remarked how it transforms a room. Wonderful anywhere mood lighting is needed. Bedrooms, foyers, living rooms, the possibilities are endless. While there is one sample that shows the work, I have a number of different sizes from approximately 7″ tall (mini night-light version) to the full-sized version on the campaign site (approximately 12″ tall) as well as a globe in the works. ALL of these design have been made before, just not as a light feature, so there is no question about HOW to make them. This campaign is full steam ahead! So….share this with your friends because the more coverage I can get, the greater the possibility that I can reach my goal!
Want to contact me to find out how you can become involved in this exciting effort? It can be as simple as sharing this post and the links with your friends and fellow bloggers. It can also be more involved, such as reviewing copy, and giving design advice about the campaign. There are perks available for this type of involvement!
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?
I thought it might be a good idea to document a few of the steps involved in the design and making of a new glass piece in the studio to give you glass enthusiasts a rare look into the process.
All design begins with an idea. That idea is then implemented using already existing knowledge about how the piece designed might be accomplished. Often this works well, but sometimes new tools, materials, and skills have to be made or mastered in order to make new work possible. In the case of the work I am showing you, a special kiln is needed to preheat the looked glass strips called dichroic (shown in the picture above) to be preheated. 2100 degree glass will not stick to room temperature glass, so it has to be brought halfway up to molten temperature.
In the case of the piece being made today, I am designing a new piece for a retailers association in our area for their grand prize winner. This piece will wind up being a little over a foot tall and will be composed of solid glass with air traps, which are controlled air bubbles trapped in the glass as part of what will be an ethereal design.
People often wonder what dichroic glass is. You can see some colored strips sitting in the pickup box kiln above. Dichroic was originally developed for the Lunar Rover cameras to cut down on sunlight which was cooking the film when under full sunlight. It is a very thin, translucent, even, metallized coating on glass. High tech, dichroic is expensive at about 150 dollars per eighteen inch sheet.
I then go to the furnace where the clear molten glass is kept and get a “gather” of molten glass on the end of a metal rod. This is turned constantly to keep it from dripping onto the floor. The glass is about 2100 degrees when it exits the furnace, so it moves like honey.
The glass is shaped into a small cylinder and allowed to cool after which I get another gather of glass. Depending on the size of the piece, I will add dichroic to the outside of a gather. In this case, I will be getting a third gather of glass. The volume of the glass in total will be the volume of between two to three softballs in size. You can see the successful first pickup of color below on the outside of the glass.
You can see some trails of bubbles in the glass which are part of the design.
The glass is then twisted to get a spiral.
The glass is then dimpled which will trap a veil of small bubbles once the next gather is put over the glass.
This is piece shows the clear gather now over the glass. This piece is being shaped into an egg shape, which is done with a wet carbon felt pad. This is all by hand.
This is a smaller piece. You can see how ethereal the dichroic can be!
Once the piece is heated and shaped a number of times, it is cooled and the base stressed with cold water which allows it to break off evenly from the rod. It is placed in a kiln at annealing temperature, about 950 degrees, and will slowly cool over a period of days. The picture above shows some of the effects that a glass piece like this has.
A piece of glass like this will last the ages. Thick, glass is very durable. The picture above is a closese-up of the dichroic with the bubbles. Cool, huh?
That is how pieces like this are done. One great advantage of being able to work with an artisan is that you get up-close involvement in the design and making of glass which you have commissioned and helped to design. This process can be as involved or as “arm chair” as you, the customer, desires. For creating one of a kind looks for everything for display pieces, drawer pulls, sun catchers, drinking glasses, and more, you can’t beat what your local artisan can make for you!
For more on commissioning your own work, read my post a few posts down the line on the steps most often involved in commissioning work by a local studio!
Come help us make Stafford Art Glass sustainable into the new year! With the popularity of our BYOB event this past Christmas, it’s decided that we will continue to offer another event so those who were too busy or did not notice in time, can take part.
Join us for a weekend of hot glass at the studio in Newport. Located just ten minutes from Blacksburg on Route 460W, the studio is a gallery and hotshop all in one. It is also a place to learn how to make beautiful objects in glass. At this event you have the opportunity to sign up for thirty-minute slots to make either a suncatcher or paperweight; a suncatcher takes half an hour, a paperweight takes about an hour. Double up your thirty minute slots, back to back, so you can make a paperweight during this event!
Event runs January 11-12 10:00 a.m. – 8 p.m. each day. Sign up for blowing slots by “liking” us on Facebook and messaging us what times work for you and what you plan on making.
We are also having a sale at the gallery that is 50% off wholesale pricing as well as a second sale of selected works from the production floor. These are at unheard of prices. One example is our Andromeda Geodes, a paperweight with a galaxy inside, which normally sell for up to $120.00 in galleries are as low as $18.00 at this event only. People sometimes ask us why our seconds are priced as they are and its simple. Our seconds never have ANY structural flaws. No chips or cracks, only slight cosmetic flaws that keeps us from selling them as firsts. Most people do not even recognize these “flaws” as flaws at all! For example, pieces may be a slightly different size, or the design in the center might be slightly off-center, or the galaxy might not be perfectly symmetrical. I know it’s a small thing, but our work has to be perfect, gallery ready, and our galleries want consistency as one smaller piece in a grouping might not sell as readily. So we keep them and sell them at our studio! This is an excellent opportunity to buy great work at unbelievable prices. Perfume bottles for a song, all original made in our studio quality work! Bowls, vases, paperweights, ornaments, suncatchers, and yard ornaments, pendant jewelry; it all goes for half off!
If you want to sign up to make something during the weekend, slots are reserved on a first come first served basis. At this price, slots go very quickly and availability to limited!
Whether you plan on blowing glass or simply watching the fun ensue over the weekend and looking over our sale offerings, this is a great family friendly weekend! For those who wish to blow glass we ask that you wear all cotton shirts, preferably with long sleeves when possible (we do have arm protectors) and sunglasses (we do have safety glasses that fit over regular glasses if needed). No
open toed shoes, and jeans are best. Everyone has a different comfort and skill level and we adapt to your needs as a student. We work as a team one-on-one to realize your glassy creations! Work made must anneal in our kilns overnight for ornaments and 24 hours for paperweights. To keep things simple for us, we ask that you either respond to this post or respond on facebook and message us there so we can keep our scheduling quick and easy for all involved! Thanks for your understanding!
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.