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My Artist Statement

I was born loving the arts. I can't remember a time when I didn't write poems or draw little figures or enjoy being in a play. My interest and fascination with blown glass started at about 11-12.  My brother, who was about 8 or 9 at the time, gave me 3 blown glass figurines. Each one was a different animal with different colors. So I started collecting them. Back then, you could find little glass animals in all different colors and patterns in a variety of stores. Wherever I would go, I would find one that reminded of each place I visited or sometimes I just liked the colors or they were unique. I started receiving them as gifts, reminiscent of different visits or just a beautiful piece. I admired and was in awe of beautiful glass pieces that I saw in galleries, art fairs and museums.

In the fall of 2004, I was taking a computer graphics class at a local community college. I saw a "fused and slumped glass" class advertised. I didn't know anything much about it, but heard it was a great class. I got in at the last minute and thus began my addiction to the pursuit of learning and creating beautiful fused glass art. It started with making a magnet and I've gone on from there. I continually learn and experiment with new ideas or colors. The way I create a piece is that I often get a picture of a specific design or colors and patterns (in my mind) and try to make it. Sometimes it works, sometimes it doesn't. Others will give me suggestions or sometimes I see a piece of art and it gives me ideas. 

I will say that being able to make  something beautiful has been a great source of a creative outlet and a way to focus on something positive. I became seriously ill at the beginning of this century and have a few chronic health conditions to deal with. I am able to use my imagination and  artistic visions. Not only does this help me, but it brings beauty and joy to others as well. Also, I want to make this a success not only for myself, but for son, who is now in college. 

Each piece is designed and cut by me. Everything is original, made one-at-a-time, and is one-of-a-kind. I can duplicate some pieces, but even if I use the same glass designs, each piece will still be a little different because each piece of glass is a little different. I can also make custom pieces. Not every piece of my work is on the site at all times. So feel free to contact me if you would like to see more or if you any questions or ideas. 

Thank you visiting glassdiva.com

What I Do

I use sheet glass made by Bullseye Glass in Portland, OR. All of the glass I use is 90 COE. Glass for fusing has a COE (coefficient of expansion). This is a measure of how much glass expands or contracts. Glass expands when hot, contracts when cool. You must use glass that has the same compatibility. Incompatible glass can cause cracking or shattering when cool. 

Dichroic Glass - made by a variety of companies. Dichroic is a coating and it reflects one color while it transmits another, which means you see different colors when viewed from different directions or angles. 

Iridescent Glass (Irids) - glass treated with an iridescent coating takes on a metallic sheen and usually looks likes rainbow colors. 

Frit - small, irregular pieces of crushed glass (less than a 1/2"). Frit comes in different textures from powder to course. I usually use medium to course. 

Stringer- long, thin threads of glass 1 mm in diameter and up 6mm. They come about 18"" in length. Used for decorative and texture purposes on each piece. 

Confetti - paper thin slices of glass. Fusing takes place in kilns made only for glass. 

Full fusing - usually takes place between 1450-1550 degrees (depending on the kiln). Full fusing merges 2 or more layers until the glass is combined into one layer and usually becomes flat. 

Tack fusing - usually takes place between 1350-1450 degrees (depending on the kiln). This process heats all the glass pieces stick together, but they still retain individual shapes/and or textures. I like to create a lot of my pieces with texture. 

Slumping - usually takes place around 1200-1300 degrees (depending on the kiln). Slumping shapes glass and heats until it stretches and drops or slumps into a mold. You can also make the glass slump with pieces of fiber paper. Fiber paper is thicker than regular paper and comes in different thicknesses and can be cut into strips or shapes. Depending on the thickness of the fiber paper, it can make slight or deep indentations in the glass. I use a couple of strips to make the indentation on the back of each mezuzah, so you can place the scroll there.