I create textures, organic patterns and images in glass. My work is flat, not blown and is produced in a kiln using cut, crushed and powdered glass. Once assembled, the glass is then fused together to make one solid piece. I choose to work in glass because it is a material that transmits and reflects light as no other material can do. When light passes through glass, something magical happens; it glows. I see glass as a metaphor of humanity. It is a material whose beauty can rival that of the most precious gems or metal, yet we can find it lining our doors and windows or inauspiciously holding water at our dinner table. Glass is precious and elite yet common and ordinary; much like ourselves.
Typically, I employ images in my work to express what I find fascinating and beautiful in life. A lot of my work has been about my love of nature and humanity's relationship with it. It is organic, wild and still controlled by the means necessary when working with glass.
More recently, I've been exploring the human form in this way. We are always involved, either consciously or unconsciously, in the scrutiny of others and are adept at making spit second decisions of everyone we meet. We are repelled or attracted and interpret every variation of shape as an suggestion of character. There is no better or more direct manner to express visually an idea or emotion than through the human figure.
I do not always present the figure in a realistic manner, but rather use gestures to convey the essence of what I'm trying to communicate. These gestures or fragments can often say more than the whole. There is an element of an event as they embody a sense of history or memory. By that vary nature, they evoke emotion. My intention is not to create a scientific specimen contained in a glass case, but rather an idea that is presented in such a way that the artwork is engaging, beautiful, and personal. It's an exciting process for me because the piece is not finished until it is experienced by an audience when they bring their own history, memory and scrutiny to the work. Their interpretation may not be my original meaning, but it is no less valid. I collaborate with my viewers and by doing so, express what is most human, connection.
2007 ???Space, Light, Glass???; Pilchuck Glass School; Marian Karel and Daniel Henzlik; Stanwood, WA.
2006 ???Thinking About Glass???; Jane Bruce and Steve Kline; Portland, OR.
2005 ???Thinking in Glass???; Sylvia Levenson; Portland OR.
2005 ???Fusing with Frits and Powders???; Bob Leatherbarrow; San Diego, CA.
2003 ???Expanding the Color Pallet???; Roger Thomas; Gardena, CA.
2003 ???Developing Style???; Doug Randal and Jack Doppler; Portland OR.
1995 B.A. Fine Arts California State University Stanislaus
2009 ACGA Invitational at Marin MOCA, Novato, CA.
2007 Pilchuck Glass School Juried Auction Sale
2005 Art Glass Association of Southern California San Diego
2004 Association of Clay and Glass Artists of California, Alameda County Building, Oakland CA.
Art Glass Association of Southern California, San Diego 2nd Place 3D design
2003 Art Glass Association of Southern California San Diego Best of Show
2010 Lighting panels for Newton Wellesly Hospital Founders Hall Boston, MA
2010 Tree Panel sculpture for private collector, Boston, MA
2009 Lighting panels for Newton Wellesly Hospital Cancer Center Boston, MA
2007 Glass panels for bar in private residence. Designed by Linda Joanue
2008- present on a monthly basis in San Marcos, CA
"Basic Fusing", "Images in Glass", "Open Face Casting"
2008 ???Frits and Powders: Developing Your Voice??? San Diego, CA.
2007 ???Fusing for Beginners??? San Diego, CA.
2007 ???Introduction to Silicon Mold Making and Lost Wax Casting in Glass??? San Diego CA.
2007 ???Shape and Form in Glass Design??? San Diego, CA.
2006 ???Line as a Design Element in Glass??? San Diego, CA
1995- 2001 California Public School System High School Arts and Adult Education: International Baccalaureate, Drawing, Photography, Computer Graphics,