My path to fused glass began at the NYU Tisch School of the Arts Theater Design Program with two artists at the top of their fields: scenic designer Ming Cho Lee and lighting designer Jules Fisher. I transitioned to a career in film production as a cinematographer for commercials, documentaries, music videos and features.
Cinematography, in many ways, prepared me for working in glass. The cinematographer learns the psychological influences of color and light, transparency, opacity, and composition, as well as other visual tools to elicit emotion. In the camera, glass is used as a filter medium to alter the tonal quality of the image—darkening a sky, emulating a sunset, achieving selective focus, etc. On the set, lighting through textured antique or art glass creates shapes on backgrounds as well as transitional elements.
I first discovered the fused glass art of Martin Kremer—work of unique dimensionality—in a gallery in Taos, New Mexico. By coincidence, he lived near to me in the Hudson Valley, and I was fortunate to have Marty as my first mentor.
My education in fused glass continued through intensive workshops with innovative artists such as Nathan Sandberg and Karl Harron. Kaley Finegan from the Bullseye Resource Center NY introduced me to to the incredible range of effects that can be achieved with “reactive” glass.
My work is eclectic, always striving for originality, but also reflects the influence of mentors as well other artists I admire, my background in theater and as a cinematographer. My work tends to be layered, dimensional, juxtaposing organic and geometric patterns. Other influences include painting, sculpture, architecture and the continuous observation of nature.