Who am I?
I am a glass artist, but I would consider my practice that of Alchemy, where I combine ideas, materials, and processes to produce new items, expressions, and or knowledge. For the most part, I try to find intuitive ways to explore ideas.
I’m most passionate about Plasma Light Sculpture, which is a process requiring the technical and artistic expressions of glass blowing with the alchemical and scientific application of electrified gases and specialized equipment that you would also find used in neon.
Plasma brings something unique to glass, and that is to invite touch, something that is very difficult. By producing light it removes the barrier between the viewer and the art with its animated glow, allowing an invitation for play as it responds to the viewer’s proximity and touch.
Thus this process has challenged me to balance the form and surface of the vessel that holds these gases, and the expressions of light that can be produced in and by its interior. My curiosity encourages the exploration of interactivity and subjects that benefit from plasma illumination.
Where did this all begin?
I was introduced to glassblowing in 2011 at the Illinois State University, and during my undergrad in 2014 I was introduced to plasma illumination when I took a summer workshop at the Pilchuck Glass School under artist Patrick Collentine, which lead me to shift gears and produce my first plasma works for my graduation BFA exhibition in 2015. In 2016 I applied for the 1-year Technical Apprenticeship at the Pittsburgh Glass Center, which had received two donations of neon equipment within the first few months, and I was encouraged by Patrick Collentine to write a proposal to develop neon and plasma accessibility at the Pittsburgh Glass Center, which lead to starting the Taming Lightning Podcast.
In the last 5 years of being in Pittsburgh, I have received an opportunity to pioneer accessibility of neon and plasma art and education at the Pittsburgh Glass Center as an independent Plasma and Neon Technician. Where I help facilitate the development of that accessibility, and network to similar facilities, educators, distributors, artists, and professionals.
I’ve still got a ways to go in terms of curriculum and classes, but have been able to provide the necessary environment for residencies and summer workshops taught by professional artists.
