My work is inspired by the geography and nature that surrounds us, but it can be challenging to represent a landscape, flower or bird in stained glass. I must draw out a design that considers the way that glass will break when scored with a hand-cutter. Most of my work is done in the traditional “copper-foil” method perfected by Tiffany, but I often incorporate an element that has been fused in a kiln, manipulated with a torch or overlaid with molten solder detail on copper. Fusing many layers of stained glass in a very hot kiln comprises some of my work. Continue reading “Marian Miller”
My paper mache pieces lean toward humor, whimsy and portraying our local animal neighbors.
I start with an armature of chicken wire, Styrofoam or cardboard boxes and tubes. Each piece is layered with newspaper, tissue paper and white glue. After several coats of paint and some attention to the face and eyes, they seem to take on a life of their own, and I’m ready to let them go. Continue reading “Marcia Brennan”
In the out of doors, I find renewal of my artistic soul. Early morning mists over a coastal river or mountain pass, hoarse croaking of a raven, crush of beach shell and sand under foot, wind whispering in tall pines, plaintive whistling of a loon on the lake, smell of rain or a freshly cut hay field; all recharge my emotional batteries.
Sharing this sense of renewal, whether in drawings, paintings or the written word, has been at the core of my being since my first experiences while following my parents through the woods and waters of the Southeast. That sense has only grown stronger through years in wildlife and natural area conservation work.
I have been intrigued with organic qualities in clay from a young age. Trying to inject a living and dancing quality into the clay has been a goal of mine for a very long time. I use “Slung Slabs” on collar areas of vessels, ears, or beaks on my animals. Using “Slung Slabs” stretches and infuses pieces with a permanent sense of movement. Continue reading “Janet Leazenby”