“The first time I saw how the glassblowing process works in person was in Dallas, where I grew up. I was 15 and riding my bicycle down an alley and through a chain-link fence, I could see them blowing glass. I was instantaneously fascinated. I dissolved up studying statue at RISD[ Rhode Island School of Design ], which taught me to use materials as a means to an point. You can get excited about preparing stuff, or you are able to have a narrative. All the things Im doing now are from years of fine-tuning what I learned then as a sculptor.
My narrative is about taking something so unstable, like glass, and constructing it heavy or carved.
When you first hear something is glass, you might expect its vulnerable, but glass used to be engraved like stone. Im heavily influenced by that era, between science and religion, when people in the 1600 s and 1700 s were developing these instrumentsI intend, they created a vessel to determine air pressure and called it a barometer. And barometers were hand-carved, in glass and bronze.
Theres the Pulley Pendantthis idea of doing a pendant in which the illumination could be raised and lowered, but in glassthat took me about 10 times to develop. Sometimes things come together like a astonish coincidence, and its alone a few months vs. a few years. If I knew every plan would take five years, it would be discouraging.
Other occasions we have to do it, because it feels so impossible. Some thoughts we do to recreate the history of glassmaking, keep it alive, find an excuse to photocopy it in the here and now. I look at certain notebooks full of historic glassmaking, and were scratching our foremen saying how did they do this 600 years ago. But it could also be something my mom brought back from Venice in the 1960 s, a piece I always adoration and that I separated as a kid, and now its steeped with that reminiscence. So if I can take that technique and recreate it in a brand-new designing, then it can impede that experience alive.