In 2010, a friend introduced me to the craft of stained glass. I scored my first piece with an oil cutter, and I've been hooked ever since. I also became very fascinated with solder being a sculptural element, experimenting with techniques which made it look like the glass pieces were "stitched" together with shiny metal. I quickly began making sculptural forms that could be illuminated from within, and over the years became familiar with the broad selection of glass available from various companies, such as Bullseye, Kokomo, and Spectrum. Such variety opens up endless possibilities in color palettes and textures. And, of course, the surprise illumination factor is very exciting as well; as soon as a candle is lit or a bulb switched on from within a finished piece, various patterns of light brightly splash on surrounding surfaces in a room at night. There is such an unspeakable beauty and warmth in illuminated glass, and the sense of awe and wonder that it inspires never wanes.
There was definitely an adjustment period when I created my first designs (I smile now when I look at my first sketches and note how there's no way the glass would break into some of the shapes I drew), and to this day I curse difficult glass when it just won't break the way I score it. As an artist though, I welcome challenge and don't mind thinking on my feet if it doesn't break the way it does in the design. I'll accommodate the piece I've ended up with so that it will still be in keeping with my vision, even if it's slightly altered. Disappointment doesn't linger because I always remember to work with what I have and be open to new possibilities. In the end, this method always pays off in the art-making process, and in life as well.