Interview with BurningScentsations

I was born in San Diego and lived there until I was 28. I moved to Chicago to pursue my career and have never regretted it. About a year after moving here, I met my partner, Robert and we've been together for 12 years now.

What is your professional backgound?

I work in computers for my day job creating software applications for an insurance company. Sometimes it's fun and sometimes it a total drag, but what isn't, right?

What made you start working with glass and when?

I've always been interested in art glass objects like artisan paperweights, stained glass windows, sculptures, etc. I never thought I would actually work in it or have a chance to do the things I have done so far.

Back in junior high, I'd attempted a staine d glass window in art class, but I'm convinced the teacher had no idea what he was doing. A few years back I took another stained glass class and was actually able to finish several projects including one for my Mom, who'd been waiting for a stained glass panel since junior high.

I'd become aware of lampwork glass beads through my searches on Ebay, but ruled them out as being too small. I wanted to work on a larger scale--glass goblets like I'd seen being made at the Renaissance Faire one summer. However, I learned that I wouldn't be able to start off making goblets--I would need to work hot glass for about a year before I could get to that level and studio time being very costly, I wasn't sure that it would work out for me at that time.

As fate would have it, while I was shopping for some stained glass for a new project I was doing I got to watch a beginning beadmaking course being taught. The spark was lit, and I signed up for the next month's class. Once I started playing with hot glass, I was hooked.

Does your glass inspiration come from someplace special in your life?

Inspiration, for me, comes from all around me. I've found that I really love making trees and grapevine beads. I do find that if I'm frustrated or too tired, I just can't get anything to flow when I'm on the torch. However, a good dose of Starbucks counteracts the last problem. I really can't force it. When I'm in a groove, it all just works. When I'm not you'd think I was just starting out.

How would you describe glass?

Temperamental. Fickle. Challenging. Fabulous.

Is your studio all you want it to be?

No, I'm afraid it's not. I would love to have studio in a sunroom where I could be surrounded by flowers and light and just sit and work. Instead I'm in a basement where the one window gets co-opted into ventilating the torch, so there is no natural light. There are, of course, more tools (read: toys) that I want and new techniques and glasses that I want to experiment with. More of that will come in time.

Do you prefer music or quiet when you are working on your craft?

Music keeps me going much more than quiet does. If I'm down there singing along with a song while I'm working (sometimes there's choreography too), then I'm relaxed and the glass just flows and works better. If the studio is quiet, I won't work nearly as long. I used to try watching TV while I was working, but having the video was a bit too distracting.

If you have a really bad glass day, what comforts you?

Having a really good one. Until I have a good glass day, I will continue to beat myself up about it and doubt my abilities or the quality of my work. I guess, as an artist, I'm a bit insecure, but that is what helps propel me forward makes me want to be better than I am.

If you have a really good glass day, do you celebrate?

Oh Yes! I cannot wait for the items to come out of the kiln so I can hold them, feel them and, of course, critique them. I'm bit of a perfectionist which used to drive Robert nuts because I was constantly telling him what was wrong with the beads I made after he'd tell me how beautiful they were. I don't do that anymore, because I am WAY too critical of my work.

The best part of working with glass?

The beauty that you can create at the torch and unique vision that can be expressed. You're not assembling parts that someone else has made into an object. You're creating the object from th e raw materials, one dot, stringer or rod at a time. There's a lot of satisfaction and pride that comes with that.

What is the worse part of working with glass?

The constant fear that something will crack in the last step of finishing the bead. That's especially true when working on a raised pattern like a trees and grapes. I've gotten much better at keeping my glass warm enough throughout the entire process, but several early failures when I was learning how to do these techniques still linger in the back of my mind and can make me nervous--especially when a bead is coming out really well.

Can we have a few words of wisdom from you please?!

Never play with hot glass, because once you start you will be hooked. It's like crack for creative types because it so versatile and durable. Run away. Hide. It knows you're looking at it.

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