Glass Artists – The Goods

Maker Stories

Inside the Artist’s Studio (& Classroom!) with Jim Loewer

April 9, 2016

Inside the Artist's Studio with Jim Loewer | UncommonGoods

Jim Loewer at work in his Philadelphia studio, photos by Emily Dryden and Rachel Orlow

Every time I visit an artist’s studio, I get a completely unique experience. That’s usually because each artist’s space is filled with decor that expresses their personality, pieces handmade in their own style, and the specific tools that help tell the story of how those pieces were made. In the case of our most recent Studio Tour, the experience was special in a new way. I, along with our tabletop buying team and two photographers, actually had a hands-on creative experience led by long-time UncommonGoods artist glassblower and teacher, Jim Loewer.

Jim welcomed us into his Philadelphia studio, offered us drinks and snacks, gave us the safety rundown, and then let us each get behind the flame and actually work with molten glass as he took us through his pendant making workshop. I left Jim’s studio feeling so inspired and accomplished, knowing that I had made something beautiful under the guidance of a talented professional artist, and the whole way back to Brooklyn, I had a feeling of awe that I think might only come from knowing I just changed the physical state of glass from a solid to a liquid and back again using a shooting 3,000 degree flame.

During the visit, Jim not only walked us through the glass making process and helped us avoid singeing our arm hairs with that 3,000 degree flame, he also told us about finding a great studio space, balancing teaching and creating new work, and choosing interacting with others over being a “troll.”

Maker Stories

Magic from the Fire: Patrick & Carrie Frost’s Handmade Glass

October 23, 2015

For Patrick and Carrie Frost, the glass is always, well, half full. The husband-and-wife team, who founded Frost Glass in 2012, love being able to create together. “Collaborating and having a combined vision for Frost Glass makes it possible for us to achieve great things,” Patrick told us in a Q&A. “And being an artist teaches you to see potential in everything. Once you embrace that principle, it’s very empowering.”

The Ohio-based pair aim to share that sense of joy with those who buy their handmade wares: “Our goal is to enhance your everyday experience. We try to fill your day with magic,” he says, adding that the best compliment is “hearing that people entertain with our glassware or decorate their homes with our work.” He fills us in on the art of glass-making, the couple’s long studio days, and their inspiration.

When did you and Carrie start creating work together?

We met in the spring of 2009 at the Penland School of Crafts, assisting a master glass maker from the Czech Republic in a two month course. Both of us had experimented in different media through elementary and high school, but glass was always mysterious. Once you have your first encounter, it is hard to break free! No other material offers the same levels of challenge and reward, it is a very addictive experience to have.

What does a typical day in your studio look like?

We usually work in the studio first thing in the morning for about 6-8 hours. Afterwards, we spend a few hours doing administrative tasks, equipment maintenance, packaging and shipping, ordering materials, answering e-mails, and applying to shows and events. A typical week is six days, 10-12 hours a day. We devote one day a week minimum to “office tasks” — this gives us a break from the studio and allows us to catch up on everything else!

How long does it take, from start to finish, to make one piece?

This is a loaded question we get asked at shows — nobody is ever impressed when you tell them 20 minutes! I say we’ve both dedicated a great deal of time and energy over the past 13 years to get to where we can create at our current level. It’s like being a pilot — 10,000 hours makes you comfortable flying. We’ve done that many times over by now!

What are your most essential tools?

One of the great things about glass blowing is that the best tools and techniques have remained unchanged for more than a thousand years. Heat, gravity, how you turn, and the way you move and manipulate the glass without touching it will make the most efficient and elegant form.

Even the hand tools we use are very primitive. Glass work is essentially a throwback technique, which makes it really cool and protects it from being obsolete. There are things that can only be done by hand that a machine cannot replicate and that is what makes it special.

Do you keep anything inspirational around you when you work?

Our rescue dog Jeffrey is a great inspiration! He keeps us grounded and gives us an example of great K-9 courage, overcoming what he had to as a young puppy. Now he keeps us company in the studio or wherever we go.

Do you drink from glasses you make in your home?

We keep some of our glassware handy, but our favorite works are ones from friends or other artists that we’ve worked for. These are the best to drink out of because they remind you of a time, place, and experience you had with someone special.

Maker Stories

Centuries of Beauty and Tradition: The History of Czech Glassware

June 24, 2015

Prague Castle over the Charles Bridge (left) and a Prague Bohemian Glass Shop (right)

I’ve always found shopping for my Mother to be a challenge–it’s easy enough, but I try to score as many points with her as possible. Books run the risk of failing to meet her elevated standards, chocolate melts (or is eaten too quickly), and flowers inevitably wilt. I want something that lasts, something that I can reference in passing years after the fact if I’m trying to weasel my way out of something. Jewelry is a safe and durable choice, but as a mama’s boy with decidedly underdeveloped taste in bijoux, that too can get tricky.

We sell plenty of jewelry at UncommonGoods–more than I can process, in fact: a seemingly endless treasure trove of baubles fit to adorn any fine Mother. Yet variety in itself complicated my Mother’s Day shopping this year–how to pick? How to best maximize motherly approval?

Fortunately, a bit of context caught my eye. While eyeing a pair of Mosaic Earrings by Stefanie Wolf–elegant in their simplicity–I was reminded of a recent family trip to the Czech Republic and the amount of time we spent perusing Bohemian glass vendors in the heart of old Prague. Mom didn’t make off with any of the jewels then, but Stefanie’s artisanship evokes the centuries-old tradition of glass artistry in the Czech region of Bohemia, a perfect pick for a woman with a taste for la vie boheme.

Mosaic Earrings and Mosaic Necklace by Stefanie Wolf

Stefanie working in her Martha’s Vineyard studio

The Mosaic earrings use distinctively painted and chiseled beads called “Picasso Windows,” handcrafted in the land of Pilsner with the precise grace of Mucha, and only a dash of Kafka’s brooding damper. Stefanie began using Czech beads after admiring their distinctive quality:

“Whenever I was bead shopping I noticed that the richest colors and most luscious finishes in glass beads always seemed to hail from the Czech Rebublic. Often imitated, never duplicated!”

Bohemian crystal is renowned for its vibrant colors and intricate designs.

Glassmaking itself dates back as far as Ancient Egypt, where crude technology available to artisans led them to wind thin threads of glass over clay objects. Early Egyptian glassware was likewise crude due to imperfect and porous glass, but as glassmaking spread throughout the Mediterranean by the 3^rd or 2^nd century BCE, processes and materials were gradually perfected.

Ancient Egyptian glass and clay sculptures depicting the enemies of Egypt, on display at the Museum of Fine Arts, Boston.

Some of the oldest glass findings in Czech countries date back to around this time, when intraeuropean trade was richly facilitated by the consolidation of Roman road networks. Beads were likely imported from Celtic regions across the Danube, though some may have been of local Bohemian or Moravian origin. Glassmaking itself likely didn’t surface in the Bohemian basin until the early Middle Ages, but has since become a centerpiece of the region’s cultural expression.

The Kingdom of Bohemia, 1367–1635

The glassmaking bubble began to swell in heavily forested Czech regions around the 13^th century – medieval glassworks required copious amounts of wood to heat ovens and produce potassium, a key component needed to melt glass. Whole villages would pop up around isolated forest glassworks – and would subsequently disappear or relocate once the area was deforested. Eventually, some Bohemian nobles actually banned deforestation for the purposes of glass production, hoping to preserve sections of woodland for forestry.

Deserted medieval village of Svídna, Czech Republic

Trouble in Christendom was actually a major impetus for the escalation of art glass production in Europe. Cultural exchange brought about by the Crusades in the 13^th century stimulated the use of glass for decorative purposes, and methods were further perfected. Bohemian craftsmen became some of the first to use different metal oxides to inject vibrant colors into their glasswork, secrets to which were passed from generation to generation. Ornate colored glass beads produced in the Czech Šumava region were likewise exported throughout Europe as Rosary beads, or ‘paters’ for the first words of the Lord’s Prayer.

Medieval uses for both decorative and utility-oriented glassware sounds like the set up to a bad joke – clergy, doctors, alchemists, and charlatans came to demand glassware heavily, valuing that of Bohemian make most of all for its uniquely fine properties. (left) ‘Paters,’ Medieval Doctor and Patient (right).

By the Renaissance, artistic expression saw newfound emphasis as style and splendor trumped all. Bohemian craftsmen may have actually stolen Venetian state secrets in order to assume the position of premier crystal purveyor of the European Renaissance; a loose tongue regarding Venetian enamel painting techniques was punishable by death, yet somehow Bohemian craftsman were able to emulate and improve Venetian methods. Unique color variations, cuttings, and dynamic designs quickly characterized Czech glass as a priceless symbol of the region’s artisanry.

Baroque Coat of Arms Cup Motif (left), Hunt Motif (right)

Emperor Rudolph II, Habsburg ruler of Bohemia during the late 16^th century, was perhaps the most lavish of Bohemian glassware patrons – his extensive commissions helped to distinguish a Baroque style of glass craftsmanship. With the new Baroque wave came important advances in glass engraving; Rudolph’s gem cutter, Caspar Lehmann, pioneered new cutting methods that permitted the depiction of rich and detailed scenes in the Baroque tradition.

Emperor Rudolph II, painted by Joseph Heintz the Elder

Considered just about as precious as jems and jewelry, Bohemian glass finery was sought after by monarchs and regents from France to India – today, Czech chandeliers hang in palaces from Versailles to Riyadh.

The World’s largest Bohemian crystal chandelier hangs in the Ceremonial Hall of Dolmabahçe Palace: a gift from Queen Victoria.

Bohemian glass craftsmanship has since retained its status as a highly skilled and esteemed profession, though the Baroque gradually made way for new styles. Professional glassmaking schools in Kamenický Šenov and Novy Bor (1856), still active today, are largely responsible for the modern retention of this esteem, as was Bohemian glassworks Klostermühle, which received the Grand Prix at the 1900 World Exhibition in Paris.

Renowned for its stability, Czech glassworks even held up under the weight of the Iron Curtain! Notorious for their destructive and repressive actions towards local cultures and traditions, Soviet communists ironically sought to promote Czech glass artisanry during their decades -long stay in Czechoslovakia, seeing it as a relatively inexpressive art form that supported the economy and character of the region. Though the craft form itself was relatively unchecked, some artisans were monitored, though a resistant spirit is evident in their work.

Somewhat more naturally abstract than other art forms, glass provided a unique opportunity to defy the strictly narrative conventions of Socialist Realism. Left: “Object” by Rene Roubicek (1961), gift of the Steinberg Foundation. Center: “Single Bloom Vase” by Plavel Hava (1958). Right: “Plate with Abstract Decoration” by Vladimir Jelinek (1957). All images used with permission from the Corning Museum of Glass.

Today, the bulk of the Czech glassware and crystal industry is dedicated to the automated production of tableware, but handmade traditions still thrive as an important vein of cultural identity. Consistent with tradition, many glassmakers still work their craft in small, family-owned businesses; Stefanie is able to work directly with a Czech glassmaker for a personal touch to her materials.

A Czech glass artisan working his craft

“My glass maker runs family-owned and operated glass bead production facility that has been in operation for generations. His father shapes the iron molds that dictate the shapes and details of the beads. He travels to Prague weekly to scan the available colors of glass rods, selecting his colors and bringing those rods back home.”

“Because we work directly together, I get to custom design the shapes and colors of my beads. Many of the beads I use can’t be found anywhere else but in my jewelry.”

Maker Stories

Glass Winner Heather Trimlett Melts Our Hearts With Her Vibrant Design

January 16, 2015

I remember the first time that I watched a glass artist use a torch. I was sitting in a glassblowing demonstration at an art fair, surrounded by a big crowd waiting to witness what would happen when molten glass meets high heat. The crowd’s silence gave way to an entrancing performance. Watching the artist manipulate red and orange glass was like getting hypnotized by a campfire. I couldn’t imagine the patience and precision required to work hand-in-hand with an alluring, deadly element.

One glance at Heather Trimlett’s Spiro Earrings instantly takes me back to that day. I can tell that Heather’s ability to twist glass into a freely flowing pattern requires an eye for enchantment. As I got to know Heather during this interview, it doesn’t surprise me that she found her niche in jewelry making. Her personality is just as warm, friendly, and colorful as her beautiful pieces. Her color palette is a perfect match for our assortment! Meet Glass Design Challenge Winner Heather Trimlett, and learn about the process behind her winning design, her first experiences at the torch, and how she views the world in multicolored glasses.

How did you come up with the concept of your winning design?
For years I have played, practiced and experimented with carefully layering different colors of glass on top of each other and creating twists made of these different colors of glass. When I realized that adding a rod of clear glass to my twists would magnify the colors and allow them to appear to float freely in the clear glass, I had my magic. This combination of layering and precise twisting came together for the Spiro Earring design.

How did you celebrate when you found out that you won our Glass Design Challenge?
My first wave of euphoria came when I found out I had been accepted into the UncommonGoods Glass Challenge! I sent an email to all my clients, students and supporters, and asked them to please vote for my earrings! I was thrilled by their enthusiastic response.

Then I won, but couldn’t tell anyone! During the “period of secrecy,” I told a few close friends and toasted with a few glasses of wine. My insides were jumping up and down yelling “YEA!”

Once it was OK to tell, I sent an email to EVERYONE I knew to tell them I had won!

Can you tell us 3 fun, random facts about yourself?
1. I’m an avid gardener. Propagating my Staghorn ferns then sharing the babies with friends ranks high on the list of fun things about the garden. Spending all day Sunday in the garden is the definition of a perfect day for me. My fingers are perpetually crossed that one day my Proteas will decide to bloom. My newest venture is growing things we can actually eat.

2. I have become a collector of Lego figures. Probably the influence of a 4-year-old grandson. Or is it all those bright colors?

3. While I sit at my torch making beads, I watch bees drinking at my fountain. It’s amazing; there are hundreds of bees every day in the summer! The bees at the fountain, conversations with my students who are beekeepers and my concern for the declining bee population have led me to start studying beekeeping and trying to work up the courage to keep my own hives.

Describe your workspace.
I have two workspaces with garden views. The studio is my space for glass work and includes torches, tools, and all things related to fire. Living in southern California has allowed me to comfortably work “outside” in my garage for 20+ years. I like to say I park my car in my studio. From my torch, I have a beautiful view of my front garden.

My beautiful, bright new office is the second workspace. It’s done in my favorite color combo: lime and turquoise accented with black and white. A large glass door opens onto my garden at one end. I sort beads, make jewelry and take care of paperwork in this space.

Who or what are your design influences?
1. Color! This is the #1 driver for me. Sometimes I feel like a magpie chasing shiny things. I am constantly aware of the color around me, checking for combinations that might work well with my glass work. I love how bright colors can be in the California sunshine!

2. Order. I love orderly things, mechanical things, symmetry and repetition of line and shape. The fine mechanics and shine of a well-made tool truly inspires me.

Describe your first jewelry designing experience.
I was born to be a maker of things. I have always sewed, crocheted, built stained glass windows and many other things.

Playing with pop beads as a child was probably my first jewelry making experience. I still think they are a hoot and use them as design inspiration with my students.

Once I found flameworking (making beads at a torch), my career was set. I backed into jewelry making out of a need to do something with the plethora of beads I was making. My jewelry is simple and clean, as well as a nod to my love of symmetry and color. Clean, repetitive simple shapes are my favorite.

Can you walk us through the set by step process of creating the Spiro Earrings?
The first step in making my Lime Spiro earring is to make the twist that will be the spiral pattern within the earring. I start with one rod of clear glass and three rods of color. I heat the four rods and melt them together. The colors are placed around the clear like the stripes in toothpaste coming out of a tube. While the glass is molten, I carefully twist and stretch it out until it is about the diameter of a pencil and then let it cool. This is my twisted cane.

Next, I begin to create the bead itself. I heat a stainless steel mandrel and a rod of lime glass simultaneously. The size of the mandrel determines the size of the hole in my bead. I carefully wrap one layer of lime green glass around the mandrel as my base layer. Next, I heat the twisted cane gently and carefully, wrapping it around the lime green layer. Lastly, I apply a very thin layer of turquoise glass. I continue to head the bead gently to bring it to its final smooth shape.

I place each finished bead into the kiln to anneal (cool gradually) overnight. For me, the next morning is like Christmas when I open the kiln to see all that I accomplished the day before. I remove the beads from the mandrel, clean & polish them and then assemble them into the Lime Spiro earrings.

Are there any interesting future projects you would like to pursue?
When I am not on the road teaching or home making beads, my 10+ year goal is to learn battuto, an Italian glass engraving technique.

Creative people all have those days (or weeks!) when we feel lost, unmotivated, or stuck. How do you keep yourself inspired?
1. I am always charged up after teaching a class. My students give me energy, support and inspiration! Their questions create new puzzles for me to solve all the time!

2. Glass Bead Yoga. Production work gets me back into the groove. The repetition it requires is calming, feels good and safe, like an old friend. My mind has the space to settle down and regroup, ready for the next design idea.

Maker Stories

Wishes Do Come True: Jill Davis’ Glass Globes

January 12, 2015

Jill Davis always knew she wanted to be in the business of creativity. Growing up just outside of Boston, MA, she was immediately drawn to the rich arts and culture resources the city had to offer. Visits to the Museum of Fine Arts in her stroller gave way to a summer internship in high school. “In retrospect, I can’t believe the museum staff hired me,” says Jill, “I was the only high school student—all the others were graduate students!” Despite her young age, Jill began working on a project to organize all of the exhibition photos in the museum archive. Her favorite part of the job, however, was exploring the decorative arts and period furniture sections.

This sparked a lifelong passion in three-dimensional art. Before finding her way to glass, Jill worked with a variety of techniques and materials. From clay and metal to jewelry and paper, Jill eventually settled on fashion, making all of her own clothes. “It was the early ’80s and I wanted to look like I was in a rock and roll band, preferably Van Halen or KISS.” Jill went on to sell those clothes at small stores in Boston and Cambridge before enrolling at the Parsons School of Design in New York City.

During her freshman year studying fashion, Jill realized her clothes were more akin to wearable “sculptures” than they were “fashion.” She knew she wanted to stay at Parsons so she began exploring their different departments. The day she walked into the glass studio and saw molten glass for the first time, her search was over. “Glass is the most challenging and rewarding material I have ever encountered,” says Jill. “You can’t bully it—you are perpetually persuading and coaxing the glass into shape. Even the best living master glass blowers cannot always get the glass to do what they want! It’s this feisty streak that keeps me enchanted.”

Jill began working with the New York Experimental Glass Workshop, spending the next 15 years creating one-of-a-kind fine art sculptures. “It was absolutely great, and I didn’t mean to stop doing it—starting my company was a happy accident,” says Jill. After leaving New York and moving to rural Washington State, Jill realized that Washington was a bit lacking in terms of 24/7 public transportation. She needed a car and she didn’t want to take out a big loan to get one. Thus began her Car Project. “Glassblowers are lucky,” says Jill, “instead of waiting tables, we can blow Christmas ornaments, go set up a card table at a craft fair, and at the end of the day, you can generally count on having sold most of them.” She designed a small collection of affordably priced items and by the end of the year was able to buy a brand new car—in cash. She was also able to start her company, Henrietta Glass. Her innovative Wishing Ball followed shortly.

The Wishing Ball was inspired by an NPR story Jill was listening to while she blew some bud vases. A woman told a story about wishing on pennies as a way to heal a broken heart. Realizing that a penny couldn’t buy a wish these days, she began saving her wishes in a jar. Her wish came true at $4.73. Inflation much? This story inspired Jill to create a container for lucky pennies, though a container for pennies ended up amounting to a classic piggybank. Jill realized she was more interested in wishes than pennies, and so began to create a vessel that echoed both crystal balls and snow globes—“two other glass traditions that encourage us to gaze both inward and outward to explore new possibilities.”

The ball itself is hand blown from a blob of 2000 degree molten glass. The clear glass is rolled in bits of copper and cobalt glass called frit in order to produce an ethereal turquoise color. “It’s just like putting sprinkles on ice cream, only screaming hot,” says Jill. The glass is then carefully shaped with a bubble inflated within it. A separate bit of molten glass is affixed to the ball to form the foot. Once assembled, the whole piece slowly cooled in an oven over twelve hours.

The perfect spot to stow wishes, give thanks, or make a resolution for the New Year, the Wishing Ball presents an inspirational opportunity to put your hopes where you can see them. What’s Jill’s wish for the Wishing Ball? “I’d like people to see their Wishing Ball as a little bit of help or inspiration toward a positive future. Deciding what to write on each piece of paper may be an opportunity to focus and clarify your thoughts.” Her resolution for the New Year? To make sure she keeps doing things that make her uncomfortable, things that challenge her.

“The wonderful American furniture artist Wendell Castle, a hero of mine, has a list of 10 ‘rules’ to live and make art by,” says Jill. “One of those rules is that if you hit the bull’s eye every time, you are standing too close to the target.” This inspiration to constantly push herself lends perfectly to the idea behind the Wishing Ball. Set goals, make a wish, and make changes.

People often ask Jill why the wishes can’t come back out, and her explanation can be summed up with birthday candles. “When you blow out you candles, you don’t tell the wish you made, otherwise it won’t come true.” Says Jill. “But more importantly, memories are always more beautiful than photographs, and the same is true of wishes. When you look at the little slips of paper accumulating in your Wishing Ball, I want you to think about the Big Picture those messages convey. Rereading the notes would be like looking backwards, or trying to step in the same river twice.”

Maker Stories

Sean and Armelle’s Glass Design Wins Upcycling Challenge

February 7, 2014

It can be said that with every creative couple, the ultimate dream is to one day collaborate and use their talents and ideas together to create something pretty special. Sean O’Neill and Armelle Bouchet O’Neill did exactly that with their genuine love of glass making. The O’Neills proudly run Studio Manufact and push themselves to the limits to perfect their craft and to supply well-designed glass products to their community. We received dozens of unique and clever entries for our annual Upcycling Design Challenge, yet it was Sean and Armelle’s Upcycling Glass Tumblers design that caught our eyes. The tumblers are sleek and simple, it’s a product that can be used everyday while still appreciating the actual design itself by not just looking at it, but holding it. Starting to design a new glass collection, the couple decided to scavenge glass bottles from around their neighborhood venues. Sean says, “It is really refreshing to create something unique out of something as ubiquitous as a beer bottle. We have been so encouraged by the positive response from our community that we are really excited to share our design with the wider world.” Meet The O’Neills, our Upcycled Design Challenge Winners.

What’s an Uncommon fact about you and your hometown?

Sean: I went to four different high schools in three different states.

Armelle: I grew up on a farm in the south of France. An uncommon fact about our neighborhood park is that it was designed by the Olmsted brothers, sons of the designer of Central Park. Seattle is covered in parks, over 10% of the city is either a park or open space.

Your Upcycled Glass Tumblers are an elegant and beautiful design, how did the idea of recycling bottles and to make them into a product come about?

Sean: I have been making a line of glasses I call “crinkle cups” for years, that design lent itself seamlessly to use recycled bottles as the starting point. We are planning to move into a new studio and bring our production capabilities in-house rather than continually handing over large sums of money to rent a studio for the hot glass component of our production. By designing objects that we can create using existing glass we can cut out the glass melting part of the equation. With the reclaimed bottles, we have a consistent supply of materials that would, otherwise, be destined for the waste stream. So it was a progression that came as a result of wanting to make affordable, unique designs that we could produce consistently and be able to offer them to a wider audience.

How long have you been working with glass?

Sean: I got into glass making in high school in 1997, I moved around quite a bit over the years, but I have found a way to work with glass everywhere I’ve lived since then.

Armelle: I started while I was a student in Art School in 2001 and fell in love with the material. A few years later, I went to school at the Danish Design School to specialize in glass and moved to Seattle in 2009.

Where do you find inspiration within your work space?

Armelle: We collect many objects for their texture, form and color that as inspiration for our fine art work and our business, Manufact. Working with materials and and refining processes also inspires us, so the more we work in the studio the more ideas we get. We are also really fortunate to share a space with over a dozen other makers. So being in that proximity to so many other creative people is very inspiring.

Where does down time fit into a day of being productive?

Sean: Between making artwork, starting a new business and having a young family I can’t honestly say that downtime is a daily occurrence. But now that we have the wheels turning on so many facets of our life that we are passionate about, the next step is to organize them in such a way that downtime takes some priority.

How do you recharge your creativity?

Sean: If I feel like I need to recharge I make sure that I disconnect from the internet and look through my photos and sketchbooks where I inevitably find lots of ideas to revisit and explore.

Armelle: Ideally, by going on excursions, observing, and taking pictures. But lately it has been difficult to find the time to go on field trips.

Other than working with glass, what else do you do?

Sean: As for me, in the midst of pursuing a career as a glassmaker, I started a business designing and building self-watering garden beds, mainly the byproduct of building six of them on the roof of our studio. I am also a technician in the School of Art at the University of Washington.

Armelle: We have a two year old little girl, spending time with her after working with glass is our favorite occupation. We also teach, ride our bikes, and garden!

Do you have any special projects or events that are in the works?

Armelle: I’m preparing for two group shows with my artwork, one in Seattle and one in Chicago.

Sean: I’m designing the layout and new equipment in preparation for our move into a new studio!

What are your most essential tools that you must have on your side while you design?

Sean: A camera is an essential tool for me to document and translate a lot of what I see in the world around me.

Armelle: My coffee cup, living in Seattle has made me addicted to coffee!

What was the toughest lesson you learned working with glass?

Armelle: That you can’t count your chickens before they’ve hatched, meaning that you can’t get attached to material things that has to endure such extreme and exacting processes because there are so many opportunities for something to go wrong.

Sean: The realization of the occupation that I have chosen as my path in life, working with glass takes a long time to master and it’s very energy intensive. This is one reason why the Upcycled Glass Tumblers are so exciting, with them we have found a way to offer a product that is unique and efficient by using recycled materials.

What advice would you offer the Sean and Armelle of 5 years ago?

Sean: To trust that if you pursue your passion your efforts will be acknowledged and rewarded. The most important thing is to be true to yourself and if you do that, the rest will begin to fall into place. It seems really easy to focus on the byproducts of success and attempt to attain those rather than aiming for the essence of what makes something work well and creating that for yourself.

Armelle: Do it right the first time! This advice can be applied in so many circumstances and it most often holds true. You must really take care to do things well so as not to waste time fixing them later, that way you have the freedom to move forward.

Are there any particular artists or similar businesses you look up to?

Armelle: I got my start working in a studio called Glassmedjen Denmark. They have been a model business for me ever since. In addition, there is a Finnish artsit, Anu Penttinen, who I have always looked up to as an example of what is possible if you stay true to an aesthetic and continue growing and pushing forward with your designs. Here in the states I would say I look up to Joe Cariati. He is a talented artist who has also created a successful business making really refined handmade objects.

How did you celebrate when you learned you were our Design Challenge winner for the Upcycling Design Challenge?

Sean: We got pretty giddy and congratulated each other but to be honest, we’re still waiting to celebrate…

What quote keeps you motivated? What does that quote mean to you?

Armelle: “Choose a job you love and you’ll never have to work a day in your life.” -Confucius

Sean: “Everybody does better when everybody does better.” I feel a little silly because I saw this quote on a bumper sticker and I’m not sure who actually said it but it really resonates with me. I think that when you thrive, those around you thrive and vice versa. It is also a reminder that you can’t wait around for other people’s success to rub off on you, you have to go out and create it for yourself.

What are some new skills you are trying to acquire to perfect your craft?

Sean: I am trying hard to hone the business side of the equation these days, by spreading the word about our business and getting people excited about it and meanwhile trying to be diligent in our record keeping and the less glamorous side of working for yourself.

Armelle: I am excited about utilizing technology to compliment my handmade process, so I am learning various design programs to translate my ideas and images into the objects I create.

What are the pros and cons of being business partners and married at the same time?

Sean: We really complement each other by offering a different perspective to one another. It always helps to see something with a fresh set of eyes and that is sort of built in when you work with a partner. We both excel in different areas so we are able to cover a lot more bases than we would working alone. The cons come with the territory of sharing everything… home, business, and studio. Work is always part of our life, it is hard to stop and not think about it once we leave the studio.

What advice can you offer anyone who is submitting their work to the next Upcycling Design Challenge?

Sean: Love it! Share it! Offer something you believe in and inspire other people to get behind it.

We are pleased to announce that the Upcycled Glass Tumblers are now available at UncommonGoods.com!

Maker Stories

Inside the Artist’s Studio with Etta Kostick

July 1, 2013

Stained glass is often associated with large-scale pieces; sprawling mosaics, iconic cathedral windows, and ancient works of art. This meticulous craft doesn’t have to be reserved for the grandiose, though. As Etta Kostick proves, stained glass provides an illustrious splash of color to handmade jewelry.

Etta combines the techniques that were passed to her from her family of glassblowers and her talent for sculpting jewelry from silver and other metals to create her bold hexagon bracelets and the rings and bracelets in her collection.

The artist creates her pieces in her Chicago studio–a bright, inviting work space within her own apartment. Although we didn’t catch her hula hooping in her living room (see “How do you recharge your creativity?”), we did convince her to take us on a virtual tour of the place where she captures light and luster with glass and solder.

Maker Stories

Frost Glass’ Banded Lacework Design Wins!

June 6, 2013

I’m never happy to see a design challenge end, but I admit I took a sigh of relief two weeks ago when Candace, Jim, and Justina met via Google Hangout to pick a winner in the Glass Art Design Challenge. I wasn’t only glad we had an amazing winning design, but that my desk could be free from all of these beautiful, yet very fragile samples. I tend to be a little too clumsy to host such a design challenge.

But the greatest joy I get is making the phone call to a design challenge winner to let them know that the judges picked their work to be featured in our collection. When I called Patrick and Carrie of Frost Glass, Patrick told me that they have always loved the UncommonGoods catalog and wondered when would be the perfect time to submit their work to us. It delighted me even more to tell him that the judges loved the colors and interesting design elements in their Banded Lacework Glasses.

Meet Patrick and Carrie Frost and help us welcome them into our UncommonGoods artist family!

What is one uncommon fact about you?
We are both uncommonly determined and happy people!

How did you begin in glass arts?
Each of us got “hooked” on glass during our time in college. Carrie studied and received a BFA from the Cleveland Institute of Art, and Patrick got started with a BS from the Illinois State University. This is a common case for many artists working in glass that they become enthralled upon the first encounter, and there are many university programs across the country where this can happen.

The real education began for us after school however – the real education and understanding that drives your glasswork comes through years of study and education through alternative means. Volunteering at craft schools, working for other glassmakers, finding ways to be involved in workshops, looking for residencies, work-study programs, whatever it takes to keep going until you are adequately prepared to start working for yourself full time. Every person you work with and all of your experiences culminate to give you your true skill set and vision for what you would like to create and how you will execute your plan.

Where do you get inspiration for your glass designs?
Our designs are based upon a process where we look for a function that needs to be filled, and then create a design that can perform that function in the most interesting way possible. Each of us has a vast body of knowledge that encompasses techniques both traditional and unusual, which came from numerous experiences with master glassmakers from around the world. We love the style of the Mid-Century Modern and feel like it was an important time for design so some of the functions, shapes, and colors come from this era. Sometimes when you think you have done something really unique you will open a book and see something very similar has been done 50, 100, or 2000 years ago!

Describe your artistic process.
Our process up to this point has been to generate a line of glasswork that embodies the idea of elevating everyday experience. We hit upon an idea of experiential luxury after doing some research and found it was an interesting concept that applied to a lot of the things we were doing at the time. Our glasswork is designed to give you an experience through its function, as well as by transforming the space in which it resides. This connection with the client and their home creates a really unique bond between the artist and consumer that is unique to a handcrafted object.

Describe your workspace.
At the time we share a small private studio with a good friend, it has been a real saving grace after spending 16 months or so on the road. Trying to start a business from a mobile office is difficult, especially when you are lugging around all of your tools, glass, etc! We rent a small house, which is almost entirely consumed by glass our office / “war room” features a large-scale desk calendar that is dismantled, stuck up page by page to the wall to give the entire year-at-a-glance (gold stars are sometimes used to note an especially productive day). Being here allowed us to take all of our equipment and belongings from 5 separate locations and put them in one place. Having our work, office duties, photography, packing and shipping consolidated gave us the real opportunity to launch our business.

What advice would you give to another artist interested in entering one of our design challenges?
This is a great opportunity it doesn’t cost anything to enter there is really nothing to lose! Even the opportunity for a jury to look at your work usually costs money; here you get a team of professionals to evaluate your design for free! The semi-finalists get great exposure on the website through the voting platform and there is another opportunity for honest feedback and insight into your work. We made a goal several years ago when looking at an UncommonGoods catalog to some day be featured in their collection, and it took this long to do it. Without ever having that thought or goal to begin with it never would have happened!

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