Glass: Skin

The project
I was thinking about the formation of scar tissue and cellular matrices approximated through bubbles, drawing parallels between human skin and the sometimes-membranous nature of glass. A variety of hotshop techniques, including reticello and color sheathing, were overlaid with 24k gold luster, powdered glass and injected enamel paints.

Made with the generous help of RISD Hot Nights.

Dimples, Nipples, Pimples (2011)

Soda-lime glass. Blown with fused powdered-glass texturing. 24k gold luster. 18" diameter.

Installation view.

Exhibited at Glass/Printmaking Senior Thesis Show, Woods-Gerry Gallery, Rhode Island School of Design.

Exhibited at Here, Now Glass Senior Thesis Show, Providence, RI.

With the technical assistance of Hot Nights.

Dimples, Nipples, Pimples (2011)

Soda-lime glass. Blown with fused powdered-glass texturing. 24k gold luster. 18" diameter.

Detail.

Exhibited at Glass/Printmaking Senior Thesis Show, Woods-Gerry Gallery, Rhode Island School of Design.

Exhibited at Here, Now Glass Senior Thesis Show, Providence, RI.

With the technical assistance of Hot Nights.

Dimples, Nipples, Pimples (2011)

Soda-lime glass. Blown with fused powdered-glass texturing. 24k gold luster. 18" diameter.

Detail.

Exhibited at Glass/Printmaking Senior Thesis Show, Woods-Gerry Gallery, Rhode Island School of Design.

Exhibited at Here, Now Glass Senior Thesis Show, Providence, RI.

With the technical assistance of Hot Nights.

Untitled Rondelle #1 (2011)

Soda-lime glass. Reticello with 24k gold luster. 14" diameter.

Installation view.

Exhibited at Here, Now Glass Senior Thesis Show, Providence, RI.

With the technical assistance of Hot Nights.

Untitled Rondelle #1 (2011)

Soda-lime glass. Reticello with 24k gold luster. 14" diameter.

Detail.

Exhibited at Here, Now Glass Senior Thesis Show, Providence, RI.

With the technical assistance of Hot Nights.

Untitled Rondelle #1 (2011)

Soda-lime glass. Reticello with 24k gold luster. 14" diameter.

Detail.

Exhibited at Here, Now Glass Senior Thesis Show, Providence, RI.

With the technical assistance of Hot Nights.

Untitled Rondelle #2 (2011)

Soda-lime glass. Bubbled color overlay, blown, with 24k gold luster. 14" diameter.

Installation view.

Exhibited at Here, Now Glass Senior Thesis Show, Providence, RI.

Untitled Rondelle #2 (2011)

Soda-lime glass. Bubbled color overlay, blown, with 24k gold luster. 14" diameter.

Detail.

Exhibited at Here, Now Glass Senior Thesis Show, Providence, RI.

Untitled Rondelle #2 (2011)

Soda-lime glass. Bubbled color overlay, blown, with 24k gold luster. 14" diameter.

Detail.

Exhibited at Here, Now Glass Senior Thesis Show, Providence, RI.

Installation view, various objects

Blood Test (2011)

Soda-lime glass. Handmade flat glass. Individual bubbles injected with enamel and re-fired.

Installation view.

Blood Test (2011)

Soda-lime glass. Handmade flat glass. Individual bubbles injected with enamel and re-fired.

Detail.

Ceramics

Some projects in clay, 2007-2011. Mostly handbuilt rather than thrown or slipcast because I enjoyed that tactility.

Materials Tests in Kiln Cycle Compatibility (2010)

Earthenware sheaths, blown glass.

Studio view.

An experiment in similarities and differences between clay and glass. Rough hand-built molds were pressed out of red clay, and without truly bisqueing were brought up to temperature in a pick-up kiln for glassblowing.

Materials Tests in Kiln Cycle Compatibility (2010)

Earthenware sheaths, blown glass.

Studio view.

The glass "vessels" would hold the marks of my finger-pressing within the clay molds, but cannot be seen until the outer clay sheath is broken and removed.

The clay is "disposable" while the glass is "precious," a funny idea I encountered while working as a glass student in college. I thought the rivalry and hierarchical ordering of materials was humorous, a bit concerning.

Utensil Kit for Feminine Beauty (2010)

Hand-shaped porcelain, unglazed (with minimal glazed accents). Glass and fabric elements for display purposes only.

Installation view.

A tool set for hygiene and beauty practices specific to my body.

Utensil Kit for Feminine Beauty (2010)

Hand-shaped porcelain, unglazed (with minimal glazed accents).

Detail view.

Knuckle protectors meant to be used with skin-safe adhesive, to aid against burns and bruises due to clumsiness.

Utensil Kit for Feminine Beauty (2010)

Hand-shaped porcelain, unglazed (with minimal glazed accents).

Detail view.

A protective tool meant for walking home alone at night, to grip tightly and scratch attackers. The grips and tip are subtly glazed to indicate utility.

Utensil Kit for Feminine Beauty (2010)

Hand-shaped porcelain, unglazed (with minimal glazed accents).

Detail view.

Artificial inserts to give the appearance of perky, desirable nipples, and disguise my inverted nipples.

Utensil Kit for Feminine Beauty (2010)

Hand-shaped porcelain, unglazed (with minimal glazed accents).

Detail view.

A calming stone. To be placed on the forehead while lying supine and still, in order to alleviate symptoms of acute anxiety.

Utensil Kit for Feminine Beauty (2010)

Hand-shaped porcelain, unglazed (with minimal glazed accents).

Detail view.

Palm-fitted dish for various cosmetics usage.

Egg Tits Glaze Tests (2008)

Hand-formed porcelain, underglaze, glaze.

Studio view.

Part of a larger series of materials tests for underglaze, glaze, sgraffito, hand-painting, etc.

Egg Tits Glaze Tests (2008)

Hand-formed porcelain, underglaze, glaze.

Detail view.

Black Tits Glaze Tests (2008)

Hand-formed porcelain, underglaze, glaze.

Studio view.

Black Tits Glaze Tests (2008)

Hand-formed porcelain, underglaze, glaze.

Detail view.

In-progress shot of stoneware built in low relief, in preparation for a Bondo cast. Penland, NC.

Companion (2010)

Hand-built clay, underglaze, sgraffito.

Exercise for Linda Sormin's class.

Double Slit Pit Vase (2010)

Slab-built stoneware, pit-fired at Tillinghast Farm (RISD Beach) in Barrington, RI.

Studio view.

With the assistance of Rose B. Simpson.

Double Slit Pit Vase (2010)

Slab-built stoneware, pit-fired at Tillinghast Farm (RISD Beach) in Barrington, RI.

Detail view.

With the assistance of Rose B. Simpson.

Double Slit Pit Vase (2010)

Slab-built stoneware, pit-fired at Tillinghast Farm (RISD Beach) in Barrington, RI.

Detail view.

With the assistance of Rose B. Simpson.

Glass: Cities

The project
I was frightened of and quite awful at cold-cutting of glass when I first began. The process filled me with anxiety over the noise, vibrations, shards and dust, everything seemingly always on the verge of self-destruction. However, when I started to buff away little windows into these blocks of solid glass, I became intrigued with the "interior worlds" that are possible with glass casting. Indeed, the surface of these objects is quite chipped and rough, quite opposite to their transparent inner atmospheres.

City #1 (2007)

Cast soda-lime glass. Partially polished, drilled and engraved. 5" x 1.5" x 1.5"

Detail.

City #1 (2007)

Cast soda-lime glass. Partially polished, drilled and engraved. 5" x 1.5" x 1.5"

Detail.

City #1 (2007)

Cast soda-lime glass. Partially polished, drilled and engraved. 5" x 1.5" x 1.5"

Detail.

City #1 (2007)

Cast soda-lime glass. Partially polished, drilled and engraved. 5" x 1.5" x 1.5"

Detail.

City #2 (2007)

Cast soda-lime glass. Partially polished, drilled and engraved. 5" x 1.5" x 1.5"

Detail.

City #3 (2007)

Cast soda-lime glass. Partially polished, drilled and engraved. 5" x 1.5" x 1.5"

Detail.

Mirrors

The project
I liked creating these mirrors that kind-of didn't function. Whether through using opaline slab-roll glass that was mirrored perfectly on its other, inaccessible side, or poking a hole or two into the fish-eye field of vision, I had fun with these one-liners. The making process was toxic and miraculous, using transformative metal solutions to bind molecules-thick layers of galena and silver to the glass.

Vision Dips (2011)

Soda-lime glass. Blown and cut. Galena mirror. Approximately 7" diameter each.

Installation view.

Vision Dips (2011)

Soda-lime glass. Blown and cut. Galena mirror. Approximately 7" diameter each.

Detail.

Vision Dips (2011)

Soda-lime glass. Blown and cut. Galena mirror. Approximately 7" diameter each.

Detail.

Vision Dips (2011)

Soda-lime glass. Blown and cut. Galena mirror. Approximately 7" diameter each.

Detail.

Security Mirrors (2011)

Top: soda-lime glass. Slumped and hand-shaped. Silver mirror. 14" diameter.

Bottom: commercially manufactured security mirror. 14" diameter.

Installation view.

Security Mirrors (2011)

Soda-lime glass. Slumped and hand-shaped. Silver mirror. 14" diameter.

Detail.

Glass: Melt Cabinet

The collection
This cabinet was created as part of a larger performative concept, wherein which every single glass object in the artist's house was to be slumped flat in a jumbo industrial kiln. This particular selection features antique press-mold glass, Mason jars, teacups and the artist's own handblown goblets displayed in a modified kitchen cabinet. The cabinet refers to the wunderkammer or cabinet of curiosities, reduced to something modern-day, mass-produced and joyless.

Even so, there are visible qualities at turns graceful and humorous as these vessels soften in the heat and fall open and fall over.

Melt Cabinet (2011)

Various commercial and hand-blown glass, slumped, displayed in modified kitchen cabinet with float glass shelving.

Installation view.

Exhibited at Woods-Gerry Gallery for RISD's Glass/Printmaking Senior Thesis show and at Here, Now, a pop-up gallery run by RISD's 2011 class of Glass students.

Here, Now group exhibition

Here, Now: Glass department class of 2011 senior thesis exhibition. Featuring work by Sinnae Choi, Jonathan Wang, Hannah Kirkpatrick and Naomi Mishkin. Under the guidance of Rachel Berwick.

Melt Cabinet (2011)

Various commercial and hand-blown glass, slumped, displayed in modified kitchen cabinet with float glass shelving.

Detail.

Exhibited at Woods-Gerry Gallery for RISD's Glass/Printmaking Senior Thesis show and at Here, Now, a pop-up gallery run by RISD's 2011 class of Glass students.

Melt Cabinet (2011)

Various commercial and hand-blown glass, slumped, displayed in modified kitchen cabinet with float glass shelving.

Detail.

Exhibited at Woods-Gerry Gallery for RISD's Glass/Printmaking Senior Thesis show and at Here, Now, a pop-up gallery run by RISD's 2011 class of Glass students.

Melt Cabinet (2011)

Various commercial and hand-blown glass, slumped, displayed in modified kitchen cabinet with float glass shelving.

Detail.

Exhibited at Woods-Gerry Gallery for RISD's Glass/Printmaking Senior Thesis show and at Here, Now, a pop-up gallery run by RISD's 2011 class of Glass students.

Melt Cabinet (2011)

Various commercial and hand-blown glass, slumped, displayed in modified kitchen cabinet with float glass shelving.

Detail.

Exhibited at Woods-Gerry Gallery for RISD's Glass/Printmaking Senior Thesis show and at Here, Now, a pop-up gallery run by RISD's 2011 class of Glass students.

Melt Cabinet (2011)

Various commercial and hand-blown glass, slumped, displayed in modified kitchen cabinet with float glass shelving.

Detail.

Exhibited at Woods-Gerry Gallery for RISD's Glass/Printmaking Senior Thesis show and at Here, Now, a pop-up gallery run by RISD's 2011 class of Glass students.

Small Metals

The objects
Various small metals & jewelry projects through the years. I initially learned jewelry basics and hollow construction from Johan van Aswegen at the Rhode Island School of Design, continuing on to learn enameling from Jennaca Davies while on scholarship to Penland School of Crafts (NC). I love that with vitreous enameling, I can explore my interest in glass and transparency in a much more intimate, scaled-down manner.

Many of these items were made via traditional techniques, by soldering and cold-joining sheet metals and wires; there are also several objects made out of precious metal clay, a malleable material that fires down to pure silver (or other metals).

Lifeline Wishbones (2011)

Hand-molded precious metal clay (fine silver).

Installation view.

These objects were displayed at Here, Now, the 2011 Glass seniors' pop-up show in Providence, RI. They were molded by directly pressing the silver clay into the creases of the artist's palms, as well as using PMC slip (liquid clay) to fill in the details of the skin.

Lifeline Wishbones (2011)

Hand-molded precious metal clay (fine silver).

Installation view.

Enamel tester #10 (2009)

Copper sheet with counterenamel test.

Enamel tester #11 (2009)

Copper sheet, enamel, Swarovski element.

Hard Wax Carvings for a Stalagmite Box (2014)

These waxes resemble a plastic, almost, in working consistency, and can be welded like the microcrystallines I was more familiar with. Here I am designing a lidded, faceted solid silver box with a small internal extrusion. When casting, one must be mindful of the undercuts, the thin spots, the air bubbles, and more....

A variety of xenon-cast sterling silver and brass objects from Penland (2014)

Altogether we cast several hundred objects welded by our lovely assistant Jen Townsend, and used silver grain, scrap silver and (for a different casting) "mystery brass").

Three-Finger Wishbone Ring (2014)

"Mystery" mixed alloy brass grain, xenon-cast in vacuum, shown with bought quartz crystal and personal painting.

Drill Bit Ring (2014)

Solid vacuum-cast sterling silver, steel.

My first attempt at stonesetting ended with a drill bit embedded into my fine metal. I was advised to soften the steel with a store-bought remedy but I chose to shave the shank of the bit down so that it itself could be a jewel.

Six Claws (2014)

Patinated (liver of sulfur), xenon-cast in vacuum sterling silver from wax positive.

This was a challenging piece that taught me a lol about the compatibility of different jewelry waxes and the process of removing, adding, and taking away again. In order to form the over-hanging claws, I had to drip a softer, lower-temp wax onto the tips of the form in order to whittle it away again.

Six Claws (2014)

Patinated (liver of sulfur), xenon-cast in vacuum sterling silver from wax positive.

Melting Ring (2014)

"Mystery" mixed alloy brass grain, xenon-cast in vacuum.

This was my first try at undercuts and mimicking folds and fleshy lines while using such a rigid material. Eventually, after so much carving, the process became additive, which added dimension and reality to the "drips" as they actually hung over—making the casting setup that much more difficult.

Melting Ring detail (2014)

Slap Ring (2014)

Xenon-cast in vacuum sterling silver from wax positive.

This ring is the first of two exercises in ignoring the "flatness" of wax and breaking into some sort of curve or forward arch. After many months of use, its brilliant rouged surface has become a more comfortable wear. Inspired by a colleague, by my own work on self-defensive tools, and the practicality of the tools we wear on our fingers, the Slap Ring can be turned about facing the palm to become an unobtrusive band.

Slap Ring (2014)

Xenon-cast in vacuum sterling silver from wax positive.

Slap Ring (2014)

Xenon-cast in vacuum sterling silver from wax positive.

Stalagmite Box (2014 work-in-progress)

Xenon-cast in vacuum sterling silver box, solid, two parts.

A tiny keepsake box with a geological and somewhat unappealing surprise inside. Working on a tiny rim for the lid and a handle.

Triangle—Gently Curved (2014)

Xenon-cast in vacuum sterling silver, cast from carving wax.

An exercise in simple geometry shifting slightly to match our biology; the ring indents ever-so-slightly at two sides to allow for the index and pointer fingers to fit.

Triangle—Gently Curved (2014)

Xenon-cast in vacuum sterling silver, cast from carving wax.

Exercise 2 (2014)

Xenon-cast in vacuum sterling silver, cast from carving wax.

Simply a geometric exercise in defying the flat plane and creating a sort of faceted "Z," while retaining the marks of hand-sanding and shaping. The ring is substantial and somewhat masculine and has become a daily wear for me.

Exercise 2 (2014)

Xenon-cast in vacuum sterling silver, cast from carving wax.

Exercise 2 (2014)

Xenon-cast in vacuum sterling silver, cast from carving wax.

Plain band, fake nails and dots in the sunlight

Wire Rings, various (2014)

Fabricated silver stock, cubic zirconium.

Shaped from half-round stock and soldered, chased, partially sawed, and hammered. The black is a natural soot from the polishing process allowed to remain in the recesses. One ring (my favorite), a battuto sort of finish made with a wide hammer, is missing. Among these remaining five is my very first successful stone setting, a sparkling CZ set flush into a piece of scrap copper.

Wire Rings, various (2014)

Fabricated silver stock, cubic zirconium.

Enamel tester #8 & #9 (2009)

Copper sheet, enamel, Swarovski element.

Enamel tester #6 & #7 (2009)

Copper sheet, enamel, craft microbeads.

Origami Boat ring (2007)

Sterling silver. Folded sheet metal and hollow-constructed ring.

Origami Boat ring (2007)

Sterling silver. Folded sheet metal and hollow-constructed ring.

Coke Tray ring (2007)

Brass sheet, brass wire.

Coke Tray ring (2007)

Brass sheet, brass wire.

Enamel tester #2 (2009)

Acid-etched copper sheet, enameled in champlevé technique.

Enamel tester #1 (2009)

Acid-etched copper sheet, enameled in champlevé technique.

Detail.

I'm Shy (2009)

Copper, vitreous enamels, sterling silver cloisonné wire, sterling silver dome element, graphite markings.

Blow-up Doll (2009)

Copper, vitreous enamels, sterling silver cloisonné wire.

Potato Baby (2009)

Etched and shaped copper sheet, enameled in plique-à-jour technique.

Detail.

Functional Objects

The objects
Here are some objects that can be used for something.

The murrine dishes were created under the guidance of Yoko Yagi during her workshop at Corning. Students were instructed to carefully measure out strips of Bullseye glass, according to a pre-drawn template, which were then fused into murrine blanks. The blanks was pulled in the hotshop and chopped into cross-sectioned pieces which could be used for any number of projects. The possible intricacy and detail startled and fascinated me.

The Clutch goblets were made from glass blown into plaster molds taken from the space between my fingers. A dropped stem and blown foot were added (with the assistance of Jon Wang and Hannah Kirkpatrick) and the raised landmarks of the glass lustered and re-fired in gold.

Candy Dishes (2010)

Bullseye glass. Fused and slumped murrine. Diamond polished (obverse) and engraved with battuto finish (reverse).

Made under the guidance of Yoko Yagi.
Photographed by Corning Museum of Glass studio staff.

Candy Dish (2010)

Bullseye glass. Fused and slumped murrine. Diamond polished (obverse) and engraved with battuto finish (reverse).

Made under the guidance of Yoko Yagi.
Photographed by Corning Museum of Glass studio staff.

Candy Dish (2010)

Bullseye glass. Fused and slumped murrine. Diamond polished (obverse) and engraved with battuto finish (reverse).

Made under the guidance of Yoko Yagi.
Photographed by Corning Museum of Glass studio staff.

Sky & Lemon Soap Dish (2010)

Bullseye glass. Fused and slumped murrine. Diamond polished.

Made under the guidance of Yoko Yagi.
Photographed by Corning Museum of Glass studio staff.

Sky & Lemon Soap Dish (2010)

Bullseye glass. Fused and slumped murrine. Diamond polished.

Made under the guidance of Yoko Yagi.
Photographed by Corning Museum of Glass studio staff.

Goblet (2010)

Soda-lime glass. Blown cup, blown foot. Engraved with battuto finish.

Goblet (2010)

Soda-lime glass, transparent color overlay. Blown cup, blown foot.

Goblet (2010)

Soda-lime glass, opaque color core. Blown cup, blown foot.

Goblet (2010)

Soda-lime glass, opaque color core. Blown cup, blown foot.

Assorted goblets (2010)

Soda-lime glass, assorted colorless and smoke. Blown cup, blown foot.

Clutch goblets (2011)

Soda-lime glass. Mold-blown with solid dropped stem and blown foot. 24k gold luster.

Installation view.

Exhibited at Woods-Gerry Gallery Glass/Printmaking Senior Thesis show and Invitational Exhibition for graduating seniors.

Clutch goblets (2010)

Soda-lime glass. Mold-blown with solid dropped stem and blown foot. 24k gold luster.

Detail.

Exhibited at Woods-Gerry Gallery Glass/Printmaking Senior Thesis show and Invitational Exhibition for graduating seniors.

Clutch goblets (2011)

Soda-lime glass. Mold-blown with solid dropped stem and blown foot. 24k gold luster.

Detail.

Exhibited at Woods-Gerry Gallery Glass/Printmaking Senior Thesis show and Invitational Exhibition for graduating seniors.

Clutch goblets (2011)

Soda-lime glass. Mold-blown with solid dropped stem and blown foot. 24k gold luster.

Detail.

Exhibited at Woods-Gerry Gallery Glass/Printmaking Senior Thesis show and Invitational Exhibition for graduating seniors.

Torchwork

The objects
I first learned the technique of torchwork from Jin Won Han while on scholarship at Penland School of Crafts (NC). Some of these pieces were created there. Several examples of lacework are viewable here (often used in souvenir shop glass swans and Christmas ornaments).

The small scale and higher level of detail allowed by torchwork lent themselves to the Nine Boxes iterations, which were a sort of chaptered, vignetted storytelling using the structure of the room as a framework.

Floral Growths (2010)

Borosilicate glass. Lacework.

Detail.

Floral Growths (2010)

Borosilicate glass. Lacework and torchwork. Wax.

Installation view.

Floral Growths (2010)

Borosilicate glass. Lacework.

Detail.

Organ Cube (2009?)

Borosilicate glass. Torchwork.

Detail.

Organ Cube (2009?)

Borosilicate glass. Torchwork.

Studio view.