I began flameworking and blowing glass after a long career in oil painting.  Because of this background of formal training and experience in painting, I look at glass art through a painter’s eyes.

Just as in painting, where color can establish depth and dimension, color in glass can elaborate and define mood, context, and emotion. The color vibrancy that is unique to glass immediately draws active participation and interpretation from the viewer. I elicit this narrative interpretation and interaction in constructs that feature three-dimensional flameworked figures and painted or textured two-dimensional glass sheets. Though my glass art is formally directed at fully realizing a synergy of two- and three-dimensional forms and shapes within a fully developed formal color context, the realization of the art has been in representing human figures in flameworked glass and presenting them in a context or juxtaposition which creates a narrative communication with the viewer.

The figures are usually representational, but they are subservient to the more pervasive demands of the narrative in which they are placed.  Because the narrative is intended to be interactive with the viewer, the figures are made and positioned in a suggestive, rather than explicit, narrative context relative to each other.  Manifold interpretations of the interactions of the figures are intended and encouraged by the context in which they are placed and presented. The interaction with the viewer is intended to be both visceral and intellectual