Interview with formfireglassworks

I have been married for almost 11 years to a graphic designer/typographer, and have twin 11 year old girls. My daytime job is architectural design of custom homes. We're a tiny firm, so I work on all aspects from design to construction administration. Between work, hubby, kids, house, Etsy and glass, I don't get much sleep.

What is your professional backgound?

I graduated with a Bachelor of Arts, double majoring in Art History and Studio Art from Smith College in Massachusetts. I received my Masters of Architecture from California State Polytechnic University, Pomona. I have been a serial hobbyist (I've done it all) since I was a teen, and have been making jewelry on and off for about 15 years.

What made you start working with glass and when?

I decided to start working with glass when I saw some of the amazing lampwork beads that were out there for jewelry designers. My local bead shop has its own studio that does lampwork, fusing and PMC, and they offered lots of classes. I took my first lampworking class July 29, 2007 (a big day for me). I was hooked.

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

I'd love to say that it comes from love of nature or is inspired by some deep thought, but in truth I am drawn to form, geometry, structure and color in my architecture, and that has found its way into my glasswork. I am inspired my California modernists like the Eames, Schindler and Ray Kappe. I have always appreciated that they never differentiated between designing a house and designing a doorknob, textile or table runner. Good design is good design, no matter size or material. I strive for consistency in focus and aesthetics throughout the parts of my life.

How would you describe glass?

Glass is amazing to me both in its depth of transparency and color and its ability to be transformed by heat. I am intrigued by the idea that glass is never truly a solid. I am also excited by the notion that any piece of glass remains a usable material, even after it is made into something. We can break it, melt is, reuse it for as many times as we w ish.

Is your studio all you want it to be?

It most definitely is not, specifically because I am currently working only in my local studio, and have not put together a setup for my home. I hope to do this in the not-too-distant future, because the scheduling and lack of flexibility are very difficult when you have orders or have an idea and have to wait, then try to fit it into a small amount of time. i currently torch between 2-6 hours a week.

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

Because the hood vents and the oxygen are so loud, even with the music on, I'm in my own 'quiet' little world. Torch time is zen focusing for me, so I probably won't have anything on when I finally set up my studio.

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

Knowing that it is a transitory feeling. Sometimes (especially with scheduled time) I'm just too frazzled or not in-the-moment enough for r eally good glasswork. But I know that chances are, the next time will be good, or at least better.

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

Who has time to celebrate? After a good glass day, I'm typically running around to pick up the kids.

The best part of working with glass?

For me the appeal of hot glass is that I have to stay focused - I put my ADHD craziness on hold for just a little while, and everything is calm. I can make something that someone can hold it their hand and not see the glass rod that made it. Whatever comes out of that rod is all me.

What is the worse part of working with glass?

Burns, cuts, flying shards.

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

Never stop learning - take classes, read books - there is so much left for you to discover.

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