To create my glass landscapes, I use a painterly technique to develop the images, though each panel is made entirely of glass; there is no paint involved. I start with clear or lightly colored transparent flat sheet glass made specifically for use in a kiln. I create each panel from 4 separate layers of sheet glass, building the composition one layer upon the other, often working on both sides of a sheet of glass, thus composing some of the images in reverse. The images are created using very finely crushed glass (“frit”) that is similar in consistency to talcum powder. These powdered glasses come in a wide variety of kiln-tested colors, but many of the powders do not display their true colors until they are fully fired, and even then, many continue to take on different hues or opacity as they go through subsequent kiln firings. I use a variety of techniques to compose or “paint” the powdered glass images on the flat sheet glass, including the use of various sifting tools, paint brushes, lithographer’s tools, stencils, and sometimes just my fingers. I then fire each layer separately at least once, then begin to build the final panel using multiple additional firings with temperatures ranging from 1350 to 1500 degrees. Each piece requires from 10 to 12 separate kiln firings and from 200 to 300 hours in the kiln. The panel is then framed using beautiful and sustainably harvested hardwoods, aluminum and steel. The frame is designed to capture the perfect amount of light and most are designed to either be placed on a pedestal or other flat surface, or can be hung on the wall by removing the hardwood “feet”.
Below is a short video demonstrating some of my techniques for creating my glass landscapes. In this video, I am working on the 2nd and 3rd layers of the 4-layer piece, “There Dreams a Quiet Lake”.
Below are some pictures of me making one of my glass art panels, “All In The Golden Afternoon”. In these pictures, I am working on the 4th (last) panel of the 4-layer piece.