My work is a collision between obsession with art history and fascination with nature. In the emotional debris from this messy train wreck, my portraits, figures, architectural fantasies, and other glass castings emerge, thrive and grow. While visions of Greek and Roman sculptures, Assyrian carvings, and Egyptian hieroglyphics dance like sugar plums in my head, it’s exciting to sculpt portraits that feel ancient and universal, instantly recognizable in context of the history of portraiture, yet vitally alive with a contemporary sense of identity. There have never been glass portrait castings on this scale, I’m doing something that is unique, now possible through technology made available by the Studio Art Glass Movement.
Trees are my people; I was always a tree hugger. In forests serenity and inspiration finds me. Much of my figurative work in clay has morphed into depictions of “green men” and women, nature spirits cast in glass that looks like moss, chalcedony, agate, sapphire, and water. In these works, I combine architectural elements, bark textures, and classical references to develop organic portraits. I think of working in glass as making things out of jewels, casting diamonds, emeralds, and rubies. Glass is treasure. The potential of making art using a material that might last for thousands of years is thrilling because it is a link to sculptures that have survived from antiquity.