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I was born in 1954 and raised in the Blue Ridge Mountains of North Carolina. I learned glassblowing with the help of a friend after graduating from Wake Forest University in 1976. Since I had received no formal art training while getting my Bachelors Degree, my aptitude for glassblowing was a huge and pleasant surprise. I originally created small works, and then worked with J.R.R. Tolkein “Lord of the Rings” characters and other fantasy themes. The Tolkein flights of fantasy started my love of detail and I enjoyed them so much that I decided to make glassblowing my career. I have spent the past 30 years creating my artwork for local galleries, art shows and private collections.
In 1980, after walking upon a field full of breathtaking Pink Lady Slippers on the Blue Ridge Parkway, I was inspired to change my subject matter completely. I then began creating native wildflowers and I haven’t stopped since. I had discovered what I felt was a most satisfying blend of subject matter with medium. Two trademark qualities of my work have been the accuracy of the flower structures combined with a distinctive style.
Borosilicate glass is my medium. Using propane and oxygen-fed torches, I heat the glass to a molten state (2000-2500 degrees Fahrenheit). At these temperatures, the glass becomes pliable enough to shape into delicate looking wildflowers. After completion, pieces are annealed at 1040 degrees Fahrenheit in a kiln then cooled gradually back to room temperature. This process removes all thermal stress from the piece, making the glass as strong as it was originally. All pieces are examined under a polariscope which indicates stress with a notable color so that I can either remove the stress or remake the piece before presenting it to the public. This means that my sculptures should never crack on their own once they leave my studio, which unfortunately has been the case of many blown glass pieces which were either not properly annealed or examined for stress.
My goal is to create a delicate work of art while maintaining durability at the same time, noting the balance and stability in each piece. Another aspect of my work that sets it apart is the use of free-formed glass bases for most of my wildflowers (some do not require a base). I developed my organic glass base about 20+ years ago and find that my sculptures have much more appeal to me as an artist and I am able to capture the essence of the flower with more movement. The flowers seem as though they spring from their natural looking base.
Although I sometimes use colors to highlight certain "aspects" of my work, clear glass is integral to my sculptures for two reasons. I believe that the purity of clear glass lends a mystical feel to the flowers, emphasizing the delicacy and fragility of our natural world. The transparent optical qualities of clear glass also challenge the observer to look more closely and to use his/her imagination to complete my creative vision. The new colors I have incorporated in some pieces have provided a fabulous focal point but these elements of color are most always translucent which compliment the mystical qualities of the clear glass.
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Nature is always and never the same. |