Hello from the glass studio!

If you've read my "Sparkling Stories" blog then you know that somehow I misplaced November.  

It all has to do with the time it takes to create art.

My slumped bottles with cheese spreaders displayed at the December Holiday Boutique.

After my September exhibit of flood stick sculptures I thought I was entering a period of time to catch both my breath and up on all the waiting chores.  But, I'm learning, when one says YES to art, it has a flow and an energy all its own.

After my September exhibit, the gallery owner, Suzette, began to conceive of a Holiday Boutique featuring five women artists from this area for the first week in December.  I was asked to make fused glass jewelry, something I have done for many years and sold in Ohio. But, I shied away from even mentioning it in this area because it seems like there are so many fused glass artists.  

My fused glass display at the Holiday Boutique.

In Ohio I loved the connection I had with my customers.  With each presentation of new work the response was enthusiastic and genuine.  I could see what pieces garnered the most attention and could discern preferences for colors and offerings.  

Best of all was when I would be approached by someone wearing a piece I had made.  It's a odd feeling when I create art, especially jewelry because it's so personal and worn on the body.  I know I'm not making it for me but I rarely know for whom I am making it.  Then, when someone shows me her pendant, I think, But, of course!  Of course it belongs to her!  

Note cards and fused glass jewelry await at my display.

That's what I lost after a few years of continuing to create and ship my work to Ohio to the gift shop gallery.  I didn't know who was buying it and I didn't get to see them respond to it.  So, I decided to step away from fused glass jewelry and received my box of remaining jewelry in August.

And, that's when the Universe laughed!!

Next thing I know I'm agreeing to make fused glass jewelry for the December Holiday Boutique--and, now for a charming gallery in Greeley, Madison and Main, for it's "Totally Local" exhibit Jan. 9-Feb. 27, 2015.

This means a return to my studio just after I stepped out of it!!  So, since this is my current world, I thought you might like to see my approach to creating fused glass jewelry.

This is my glass table in the garage studio.  It's an old metal desk with a poster-board work space that I can write notes or sizes upon.

Metal works for me because I'm meticulous about sweeping away the tiny glass shards and pieces into my "rubbish" container.  

I also NEVER even THINK about working with glass without my safety glasses firmly perched on my face.  I was instructed years ago by a teacher who admonished, "You only have one set of eyes!"  I think of that every time I reach to score and break glass.

I like to create my jewelry using dichroic glass, which is sparkly and pretty to behold.  It's also expensive, which is why fused glass artists use tiny pieces and judiciously place them for impact.  

Some fused glass artists use a mold and that's why all the pendants and earrings are all the same size and shape with the only difference being the glass used.

Of course, I approach this differently.  Every piece is created like a tiny abstract painting and no two pieces--even earrings that I TRY to make similar sizes--are unique and individual.  It's a relationship with the kiln, really.  I do my part.  The glass does its part and then the kiln takes a turn.  Sometimes it's what I expect.  Most often it's very different from what I imagine when I place the glass in the kiln.

 I open my containers and begin with whatever glass catches my whimsy.  Then, I score it with a cutting tool to create an edge with which to break it. Each little piece takes a score and a break.  Big, small, doesn't matter. Score, break.

I use a glass glue that burns away during the kiln firing to build up my layers.  These particular pieces (right) will be tack fused so I don't build them up very high.

Tack fused, 1350 degrees, is just hot enough to attach the pieces together but not enough to melt them into one piece.  The edges will be more distinct in shape and one can feel the attached glass as it is rough and not smooth.  

A full fuse, at 1470 degrees, is hot enough to melt the glass into one smooth piece with soft rounded edges.  When I am creating pieces for a full fuse I often layer on the clear glass as it give me a window of sorts to look deep inside the dichroic glass.  It's one of the ways I can always spot my glass from the work of other glass artists.  

In addition to the amazing part the kiln plays, I mentioned that the glass must do its part.  That's also a fluid component.  With dichroic glass, firing it one direction is completely different from flipping it over and firing it that way.  And, just when I think I understand the effect I'm going to get, there is the glass that appears one color and fires something else entirely!  I have been baffled and astonished at what I get after a firing and I open the kiln lid!! I think I'm getting pink and I get teal!  Learning my glass characteristics is like learning a foreign language!

  The pieces I have in the kiln for this run are for a full fuse.  I also want to slump a bottle so I've arranged my glass on my shelf paper (a luxury I indulge rather than having to mess with the kiln wash) with plenty of room to spread out as each one melts at 1470 degrees.

I have had my small kiln for many years and bought it from Delphi, a great glass and equipment source.  I am spoiled because the heating options are pre-programmed and all I have to do is select my firing choice and push "start."  

The next day the firing is over and the kiln cool enough to open.  (Note:  Opening too soon will result in cracked glass.)  

After the cabochons (formerly pieces of pre-kiln glass) come out of the kiln I like to sand any sharp edges so that each piece is delightfully smooth in the hand and won't snag clothing.

Next, the bails are glued onto the cabochons to create pendants.  Or, small cabochons are glued to earring backs, rings and bracelets.

I prefer to use sterling silver lever backs for my earrings in that style and surgical steel for the post style.

I use sterling silver when I can find it and silver plate when I can't.  

Creating fused glass jewelry requires patience to play with the tiniest pieces of glass.  I often use long tweezers to precisely place pieces where I want them.

It requires time to step into the creative energy so that each piece is created uniquely and one at a time.

Don't forget a good sense of humor and willing to laugh and shake one's head when the kiln is opened.

My responses have ranged from a number of things, including, "What the heck?," as well as, "WOW!"

My darling husband often refers to opening the kiln door to see what we get to the anticipation of Christmas morning

But, remember, regardless of whether you've been naughty or nice, the kiln has a good time playing with you.

Just be willing to play back.