Kiln-formed glass

Please also see my galleries of new paintings and lithographs.

Autumn Wind

2011, 8" x 10" x ½", kiln-formed glass

$900

Whirl of Leaves

2011, 5" x 7" x ½", kiln-formed glass

$350

Lifting Fog

2011, 7¼" x 8" x ½", kiln-formed glass

$800

Winter Estuary

2011, 8" x 10" x ¼", kiln-formed glass

$800

Sauvie Island Flora

2011, 10" x 10" x ¼", kiln-formed glass

$800

Sauvie Island Spring

2011, 6" x 6" x ¼", kiln-formed glass

$250

Three Graces

2011, 12" x 8" x ¼", kiln-formed glass

$750

Fervor

2011, 15¾" x 8" x ¼", kiln-formed glass

$900

Pale Shades of Winter

2011, 7" x 9" x ¾", kiln-formed glass

$800

Sandy River

2011, 8" x 12" x ¼", kiln-formed glass

$750

Tree Study #1

2011, 6" x 6" x ¼", kiln-formed glass

$250

Tree Study #4

2011, 6" x 6" x ¼", kiln-formed glass

$250

Winter Light #1

2011, 10" x 10" x ¼", kiln-formed glass

$800

Winter Light #2

2011, 10" x 10" x ¼", kiln-formed glass

$800

Watercourse

2011, 5" x 7" x ¼", kiln-formed glass

$450

Fading Woodland Light

2011, 10" x 10" x ½", kiln-formed glass

$1000

Oak Study #1

2010, 8" x 8" x ¼", kiln-formed glass

$500

Oak Study #2

2010, 8" x 8" x ¼", kiln-formed glass

$500

A Burst of Light

2010, 10" x 10" x ¼", kiln-formed glass

$800

Wildwood Fall

2010, 10" x 10" x ¼", kiln-formed glass

$800

Tenacity

2010, 14" x 8" x ¼", kiln-formed glass

SOLD

Three Graces

2010, 12" x 8" x ¼", kiln-formed glass

$800

Tree Ribs

2010, 6¼" x 10" x ¼", kiln-formed glass

$650

Winter in the Wetlands

2010, 8" x 12" x ¼", kiln-formed glass

$800

Winter Refuge

2010, 8" x 12" x ¼", kiln-formed glass

$800

The technique used in this work is a process called “Painting with Light,” developed in 1993 by Narcissus Quagliata in Portland, working with Bullseye Glass Company. He used frits (ground glass), powdered glass and vitrograph (heated and stretched glass wires) to create pictorial work more like his drawings and paintings. Bullseye Glass in sheet form is used for the base of the works for this technique.

The powders and frits can be applied to the glass sheets with sifters of assorted sizes and then manipulated with brushes, pencils, and various implements the artist chooses. All the colors and types of glass are compatible with each other. The highest temperature the kiln reaches during firing determines whether the glass becomes matte and textural, or glossy and smooth. The higher the temperature, the glossier the glass becomes. Often I work on a piece and fire it multiple times to slowly develop the richness of color and surface I am looking for. Repeated firings have a cumulative effect on the powders and frits, and change the size and depth of color of the elements through the process. For instance, a two millimeter piece of glass frit may not show its real color until it has been fired enough to expand and develop.

The stacked works are created on individual sheets that may go into the kiln multiple times before they become the unified piece that is finally stacked and fired all together.