Fall Workshops and Classes

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If you follow Stafford Art Glass on our Facebook page, you will  know about the slew of delays I have had in getting the studio back online again.  It has been kind of exciting, in a weird way, if only because of the significant improvements I have been able to work into the studio while waiting.  Oh, and the fingers I broke last Fall are doing very well, thank-you (the first of a few of the snarls time-wise!).

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Myself, I have tried to remain as Zen about this as possible.  While I very much want to have glass available to an eager group who has expressed interest in it, I also know that once I get in the thick of things once the furnaces are turned on and the gas bills keep climbing, it will be harder to make the changes that I have made this past Spring and  Summer.  These are all great changes, they just took some time (some longer than others!).

As I sit here, the furnace is actually on  its second melt, which means that it is producing excellent glass, the doors to all of the furnaces and a kiln have been hooked up to pneumatic foot control (nice for when you are holding a blow pipe),which means they open and close without having to muscle them open and closed by hand. The vent hood has been enclosed for more efficient ventilation, a fan has been wired in for that vent hood, and some other equipment have also gotten some upgrades.

 

Over the course of the last several months I have ordered over 50 new glass colors, and I put in another order for over half of that amount just yesterday. I have ordered glass color that I think will make for really interesting pumpkins as well as expanded color choices for ornaments, increasing the choices ten-fold. Some of these colors are ones I have not used in my own professional production over twenty years of working in the field (so this is a big step). None of this has been cheap, but it makes for a better experience for all of the people who are eager to sink their teeth into some exciting new offerings at the studio. One of the upgrades has been making sign-up for classes or workshops something that you can do from your phone or computer online.

Beginning the first of October, I will be rolling out my new internet booking calendar.  This calendar will be available right here on this blog at www.staffordartglass.blog.  This calendar will allow you to book classes from the comfort of your mobile device or from your living room.  From now until the calendar goes live, there will be upgrades and changes being made to the calendar to make it more useful for most of the classes that will be taught at the studio. Even though it is up right now, changes are in the process of being made, so it is not just yet ready for prime-time (but soon!).

Here are some of the classes that will be offered beginning October 1st:

  • Blow Your Own Pumpkin – offered from October 1st through to November 18th. You can pick a thirty minute slot for a small pumpkin or two slots for a larger pumpkin (I will have examples of these two sizes when we get closer to our class roll-out).
  • Blow Your Ornament Ball (BYOB) from November 30th through to December 22nd.
  • Make Your Own Paperweight – available year round.
  • Make Your own Suncatcher – available year round.
  • Weekend Glass Blowing Intensive – the first weekend of each month (subject to minimum enrollment).
  • One-Day Glass Blowing Intensive – the second Saturday of each month (subject to minimum enrollment).

That said, this schedule is just a guide to make things easier for all involved.  However, if someone would like to make a pumpkin in January or even in May, all you need to do is look on the calendar and see if the time is available.  The same goes for ornaments. If you would like to blow an ornament in October to avoid making something in December, you are welcome to do that. The way the calendar and the classes are set up for single items, I have those designed so that an ornament can be made  within a 30 minute booking session (which is how the first calendar is set up—and yes, there may be individual calendars for different classes but I have to work out the coding for that first). Since all classes are individual and include one-on-one instruction (except for the one and two-day intensives) this makes scheduling much easier. In truth, it might only take 15 minutes to make an ornament or suncatcher, but I give you that time to make sure we cover all the bases while each and every person is here.  Likewise, a small pumpkin can be made in thirty minutes and a large one can be made in an hour (you would book two thirty minutes slots and let me know that you want to make a large pumpkin when you arrive). The elegance of the way these experiences are set up is that by doubling up on two 30 minute slots is you get the right pricing and enough time to make your piece.  It is a modular system I developed that makes scaling up simple and easy.

There are many things I do not know just yet about the full functionality of the calendar and how many options I will be able to include, but right off the bat I know that there are some options as I write this that will be available.  For example, this calendar will be able to utilize coupon codes so those of you who follow Stafford Art Glass at Facebook or on other social media sites like Twitter can grab coupon codes that will be announced there and bring them here for making your final booking. To take advantage of these, go to the site for Stafford Art Glass on Facebook, hit “Like” and get the latest codes and updates.  We are located on Facebook  here:

https://www.facebook.com/Stafford-Art-Glass-273860936858/

In instances where the calendar does not allow for the type of flexibility that I might have hoped, I will be announcing work-arounds in the event that someone wants something custom or different from the norm.  But as of right now, I am still learning how to make this calendar as flexible for your use as possible.  I am using one of the highest rated booking calendars out there available for the Word Press platform (it even takes payments) so I am expecting a high degree of functionality once I uncover all of the bells and whistles in the next few weeks.  Given how this past year has gone, I am a little gun shy about making promises about exactly how I expect something like the new booking system will work.  I just know that once I sink my teeth into it, I will be able to work through the software to help bring value to my customers.

If you subscribe to the blog, you will be kept up to date about any new classes or events happening that involve booking your place for an event.  While there will also be updates on Facebook, these can easily get buried under new posts. Word Press makes it so that you can receive updates through email as well as SMS (text message to your phone) which can be even more convenient for many of you. I can also provide class descriptions here that may be too lengthy for Facebook readers.

You will find that prices are inclusive for all of our classes. That means no pesky add-ons that you have to worry about. Anyone taking a class also receives 15% off all merchandise in the gallery as a special thank-you for educating yourself about what it takes to delve into the world of glass making.

In the meantime, until we reach the first of October, I will be working to produce samples of a full line of ornaments that will make deciding on an ornament color combination easier once you show for your time slots. I will do the same with sample pumpkin color combinations, too. Then, if you get here and can’t decide what colors you would like, I will have some samples that might make deciding easier.

Thank you all who have been following along for your patience!  My hope is that the changes will be welcome and will make everything just a little bit more easy. Here’s to a fun and exciting Fall!

Keep It Hot,

~Parker

 

#glassblowing #glassblowingclass #newportva #vaglass #vaglassblower #glasspumpkin #pumpkin

The New

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Large companies can pour millions into new products each year, hiring experts called consultants to help direct them in their dream of new products and new directions for their businesses.  In the world of the artist, this too also happens, but on a mini-micro scale.  You wake up one morning and you say to yourself that an old idea that has been rolling around in your head and heart needs to be embarked on.  For an artist, this means hundreds of hours  of learning this new kind of work and who knows how much money poured into the effort.  When it comes to something like this, there is absolutely no guarantee of any sort of return.  You go by your instinct, your gut, and your wits.  And you want to know something?  My experience has been that many of my most compelling and interesting designs that I personally love often find only a luke-warm reception at least in the beginning.  I have actually shelved what would later become one of my most popular pieces for over a year before returning to it.  When it hit the shelves people looked at it like it was something from another world.  That is to say, they didn’t see it as the unique thing that it was; they saw it as unrecognizable.  This is sometimes the problem with the new.

Before a line of new work is even hot off the presses, it comes under no scrutiny, no flag waving crowds or lines of adoring fans.  Unless you can do something that often strikes most artists as utterly distasteful: you hype the living shit out of it.  You hype it so that normal people who have never bought art before sit up and take notice.  They take notice because, well, they are so tuned into the hype.  I am not talking about what an artist normally does to promote themselves. I am talking about what some people will do in order to bring in the crowds, people who might not have come in the first place.  These people are more drawn by the interest of others, the crowd, the feeding frenzy.  To do this on a large scale means celebrity or the feeling of possible celebrity.  And who doesn’t love a celebrity?  A quiet unknown who is rising through the ranks?  Still, its hype most often, anew form of hype that doesn’t look like hype but still…it is.

The truth is, there is a very small number of people who don’t see the hype, don’t care about the hype and buy with their heart.  And these people are actually the visionaries, the people there when the work was not hyped, was actually affordable, and are often of modest means.  the people who come rushing for the hype are the folks who will put down $40,000.00 for the “next big thing” because, well, it looks good on them or in their house.  What we are talking about is status.  It is also worlds away from authentic art making (unless you create artifice  in order to pander to the rich).

Artists are often caught in this odd cross-fire of authenticity meeting popularity when things take off for them.  The desire to hype can get the better of some art dealers and gallery owners, and artists too.  Look, we all want to prosper, but at what price does this happen?  For those who “make it” there are now funds that allow a person to do so much more than wonder if they will make the bills this month or the next, whether the six thousand poured into the new line of work will yield anything of substance. The number of artists who were obscure in their time is right up there with the fervency of hype.  Renoir would say how he bought his villa with a painting of an empty vase sold ten years previously.  Picasso would sign checks knowing they would never be cashed because, well, his signature. It is indeed a strange world.

But look, the lifeblood of an artist isn’t the money.  It is the excitement over the next new thing, the new idea, the new process, the new way of saying perennial messages that have been born into each generation and recur in slightly different ways from one century to the next.  Our dreams are those of the Romans, the Greeks, the Pelleponesians, the Shakespeares, the kings and queens of Ur, all told now in a recognizable dialect.  Before it is a “thing” we are there in the innocence of the moment in the studio, scribbling on napkins, sending notes to friends, or making the discovery that could change a lifetime.  We were the true believers before anyone dared to even dream it.  It is this piece of our lives that the beloved collector wants a piece of…the early work, albeit a little rough around the edges, but is work that suggests that there are more pieces that will follow, and if the artist is lucky enough to sell enough to fund the next round of work, they do, and the work evolves.  And hopefully, the work evolves fast enough that it stays ahead of the curve so that the artist can turn enough of a profit so that s/he can make more….and survive to make for another day.  This is not an easy proposition because artists have to be both lovers and shrew business people.  I can tell you that it is hard to do both equally well, and as history shows us, artists tend to be lovers over the shrewd type.  This is so because it takes a huge amount of passion just to get your through the 80 hour days, weeks, months, that are required to become good at something.  And for an artist, this can mean remaking yourself with new techniques and ways of working every once in a while.  You don’t get there with shrewdness.  You don’t calculate passion or love.  You simply have to have it in you as a lover.  And like all great lovers, you can’t be thinking about dollar signs when you are throwing yourself into the next big thing.  To do this requires a singular sense of authenticity, passion, and love.  Anything else simply robs the work of the life that animates the work, that gives it that presence that is often unnoticed by the great unwashed but that the lovers of art pick up on and see.  It takes a lover to know a lover, even if one does not make art and the other does.

So it is that yesterday I had this “congealing moment.”  I know how that sounds, but I cannot think of a better term that feels so equal to what actually happens….The moment involved an idea I have had in my head literally for decades that involved a type of work that I have considered doing in glass.  I just wasn’t completely sure how I would do it.  My mind had been putting these pieces together off and on for a long time, but I just didn’t know exactly what the end result would be.  It was a bit like staring at Monet’s paintings of haystacks early in the morning…..they were images that had some shapes, yes, a suggestion of form, but were largely vivid blurs in my mind.  That really is how these kinds of pieces can be in our minds.  I know that other artists do the same thing because I see it in my art students.  They draw a quick sketch and then say, “I will “art it up” Mr. Stafford….you know, I will make it awesome!”

So really what is happening is there is something that is not completely fleshed out for the artist in their mental conception of the work that they just know they will get worked out in the final work. They just know, right? So sometimes that golden moment happens, that bit of genius that flows out into the work, and sometimes it doesn’t.  Sometimes we kind of waive our hands in the air, explaining a new idea without really knowing what it will be like.

(“Insert some kind of colorful awesomeness here _____”)

It isn’t that we are fooling ourselves as artists.  In fact, this sense we often have, that it will be awesome, is quite simply derring-do.  It is born out of confidence in ourselves, and it is ballsy.  As a result, I am loathe to be too critical of it. I was in fact in just such a place, parked with my idea for over a decade (at least) while this idea, apparently, gestated very slowly in my mind or creative spirit.  And then it happened.  It happened very quickly, almost too rapidly for me to even notice.  If I had been too distracted, it would have been gone and I might not have even noticed it.  Look, I have hundreds, thousands, of ideas a lot like this fleeting through me.  It is just how it is.  And most often, this happens in a state that is different form ordinary consciousness.  As a result, unless you sit with the idea and hold it there, it can literally just evaporate in exactly the same way that a dream you had last night is  nearly impossible to recall.  Steve Jobs once described all the things he “knew” when he was on LSD that he completely forgot when he came back down to ordinary consciousness….but he knew that it was something and he wanted to add a little piece of that in his work, which he did.  So, yeah.

I didn’t need LSD to get to that moment.  It was all there, fleshed out in the moment clear as day.  It was so complicated that I knew that in order to work it out, I would have to possibly spend months developing enough elements just in order to develop the work.  These pieces depart completely from everything I have done and dip into art.  How they are done is through a series of layers of imagery that are literally carved out of layers of glass at room temperature and then layered into the glass.  On the one hand, I could wind up with a cheap Venetian looking “fish bowl” (you know those….they look like fish in a bowl and are made by layering all these elements in them) or I could on the other, push the idea so far that I come up with the level of complexity I am looking for, which is not unlike a multidimensional “trip” through a dream world that actually is beginning to look a lot like how complex our lives have gotten today.  The trick, I know, as I waive my hands in the air, is to invest the “landscape” of these glass pieces with the level of complexity that keeps them from being cute or quaint and pushes them into new territory altogether.  And that, dear reader, is the hard part of art.  It separates the girls from the women and the boys from the men.  Hopefully in the end it serves to unite us all in a new kind of vision.  😉

So that is what is on the plate for now.  Naturally, I can’t say too much about it right now, not until I develop the work because until I do that it is much too easy for people to take an idea and run with it.  And that is the other side of the coin, but I will spare you that dimension of our work as artists.

The new work will mean that I will do something unusual, which is I will need to create photographs, images, and drawings, all of which will be put down on paper to form the basis of the imagery that will be cast into place with these pieces.  And to do them well will mean that the imagery remain crisp. That will mean selecting certain colors over others.  There will be choices that will have to be made that will be exacting, like building a three-layered canvas made of glass that you will be able to see through.  Some will seem like dreams, some like memories.  Perhaps some will fill the space with a sense of life.  Will they?  That will be up to all of the efforts made in the studio and out of it.  For now, there is a lot that needs to be done in the moment that will lead up to determining whether this work will be worth the time and trouble.  These are the untold hours, the invisible hours, that go to make a new line of work what it is. And this is the life of the artist.  More than money, more than anything else, this is what gets my blood pumping.

My Indiegogo Campaign Link (Draft Mode!)

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Proposed Design For Coffee Mug Design Perk on Indiegogo. ©Parker Stafford

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!

http://www.indiegogo.com/project/preview/22b29132

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!

Proposed Mug Design For Indiegogo perk. ©Parker Stafford
Proposed Mug Design For Indiegogo perk. ©Parker Stafford

Getting Lit

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.

vase drilled

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…

vase lamp wire

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).

vase lamp wire 2So 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.

vase lamp wire installedSo 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.

vase lampwire in the vase

Okay.  So now for the lighting kit!

vase lamp light kitI 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!

 

Lamp 1

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).

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Lamp 3

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?