The Glass Component: As glass melts, its shape changes. This must be accounted for when creating glass, which will be incorporated with precise fitting metal components. I construct each piece by fusing many layers of art glass, while building in channels, which will ultimately allow for wire to be strung through. As the glass becomes molten, the colors merge, creating unique compositions each time. For this particular project, color choice must be very deliberate, as the back layer of glass is meant to show through the front layer and add dimension.

Creating with metal sheet: I achieve “character” in my work by applying texture to the sheet metals I work with. Many of my collections feature a pattern that has been roller-milled into the surface. This process is much like imprinting play-do, as you may have done as a child. Of coarse, the torque required to impress sheet metal is much greater than that of clay, thus there is great risk that your texture will run off coarse, and cause need to start again with a new piece.

Forging is also prevalent in my work. I use this ancient technique, of hand hammering the copper (or silver) against hardened steel, both to create texture in sheet, as well as accentuate wirework. It is a painstaking and time-consuming process. As the molecules in the metal are forcefully re-arranged, it becomes misshapen and brittle. Care must be taken to account for the movement, and to achieve the desired effect efficiently, so as not to stress the metal.

Now, the shapes can be cut, drilled, filed, sanded, and polished. Due to the constructive nature of my designs, precision is key. To further enhance the “character”, I chemically treat the pieces to achieve a colored surface, and then hand-polish to enhance the textural depth. The end result: a very rich look.

Wirework: I take great pride in the precision of my wirework. It is all created with basic hand tools to conform to my blueprints. As is showcased in this tile, this accuracy allows me to incorporate function, by using the wire ends as connective rivets. To further complicate the process of forming the wire, only one swirl can be formed before being strung through the channel in the glass. As each wire rivet is attached, the difficulty increases.

Assembly: With the wire formation complete, the swirls are riveted by hand to the textured shapes. The quadrants of back layer are chained together with jump rings, and then the layers are assembled, just over ½” apart with tube rivets. As these rivets are hammered in place, the tile solidifies, creating a kaleidoscope effect amongst the three-dimensional layering.