Late April and May have been physically challenging to say the least. Whirlwind of pain, medications, confusion, illness, lethargy, maybe even a spot of existential panic.

I've not been in studio often, and when I am, I am more drawn to looking at very old pieces of past projects, or raw components for making larger things, than I am to creating a new project.

Handmade sheet glass from pre-2010, filled with air pockets and imperfections.

With family on my mind, I came in one day, delirious & discouraged, and created a portrait for each of us. I never did like how they turned out, but I preserve them as-is, as a testament to how I felt about my kin, that afternoon, that week, that year.

Left & middle undecided which is Mother and which is Child; right is Father. To the right a small grease marker sketch.

Detail of Mother?, flat black gouache and Phano grease marker.

Detail of Father, poured gouache and MSG solution, scratched with patterning.

Personal challenges abound this month, and yet symbolic objects, tiny projects, omen-like scribbles continue to emerge from my shop, egging me on, making me make.

Going through some old hard drives and found these three models that took me hours to build in Cinema 4D, years ago, in Jin-Won Han's glass flameworking class. She had this fabulous way of working where she envisioned her Pyrex artwork in a 3D modeling program, leading to a strange meeting of the stoically accurate and the organically unpredictable––and I would say both descriptors apply to both media, digital and glass.

This "ego box" design eventually became the following, one of the first things I ever made with flameworking:

You can see the devitrification (loss of gloss, milky clouding) from poor heating techniques, but I loved every minute of the challenge. All of these "flat" pieces of glass were made from commercial Pyrex tubes heated and sliced open, then melted together in bits and pieces.