This has been the season of kiln casting! I did two open-faced casting workshops this spring. It's so surprising to see the variety of work that comes out of the kiln.
Everyone did two projects. We started by making clay models, carving them and adding elements. We covered them with a plaster/sand investment mixture. We removed the clay, then we added glass powders, frit, twisted rods, dichro flakes, copper elements... just letting imagination run amok.
Casting is a lot of work but the payoff is that you learn tons of techniques and skills that go into making the work. That should provide all the skills you need to carry on with the work in your own studio. I hope participants keep sending me photos of new work!
I've been concentrating on making some free-standing glass landscape sculptures. Here are the new pieces going to the Rob Schouten Gallery in Langley, on Whidbey Island. I love the way they glow when they have light streaming through them.
There's a whole room full of glass in the gallery - all sparkly and vibrant. It's worth a trip to see.
Through the Valley, 17x8x4
Rise Above, 15x7x3
Summer Fields, 15x7x3
Time to get all geeky!
Yes, we all know glass artists are kind of nerdy about technique. Here's a chance to embrace your inner scientist and make friends with glass volume, particle size and heat.
How about a little frit sculpture? Doodling in frit is a lot more fun when you harness the heat! Knowing exactly what/how much/how long will make you positively drunk with power.
Then, make cullet pieces (I call it "erosion glass") with random holes that mimic nature's patterns. Add powders for an enameled look. This will be your new best friend for using up glass scrap.
Plus, take the guesswork out of glass lace. There's only a teeny bit of math, I promise. Face your fear and do it anyway. We'll all help each other out.
Come play in the studio!
I just finished a commission for a very nice person. I always make two versions of the piece, so she'll be able to choose the one she likes best.
These two landscapes recall high mountain meadows, with a bit of mountain range, distant hills, water and dark evergreens.
They are now mounted on "floating" fir bases. I am very pleased with the way they turned out. Fingers crossed - I hope she'll be very happy with the one she chose, below.
The workshop schedule for spring is complete - watch for the newsletter -
All the Best
More Workshops Coming -
Steph Mader is a full-time glass artist living on Whidbey Island in Washington State.