March/April 2020 **Digital**

March/April 2020

Volume 35
Number 2

Hot Glass Studio Profile
Dan Friday
Pushing Legacy into the Future
by Colleen Bryan
Photography by Alec Miller, Greg Owen, Russell Johnson, and Ian Lewis
Dan Friday’s art is both a personal expression and a commitment to cast forward into the future the legacy of his Coast Salish people. While there are some remarkable contemporary totem carvers, Dan, an enrolled member of the Lummi tribe, enjoys working in glass because of its relative permanence.

Flameworking Studio Profile
Sabina Boehm
Capturing Fragility and Strength in Glass
by Margaret Zinser Hunt
Photography by Aaron Swanson and John Cornicello
Sabina Boehm’s nearly three decades in crafting glass has traced an itinerary that has taken her from making functional glass to marbles to larger-scale work. Femininity and power emerge as a recurring theme in her artwork, and her intricately patterned butterfly marbles are easily recognizable.

Independent Artist
Vicki Schneider
From Executive to Hot Glass Sculptor
by The Staff of Glass Art®
Photography by BJ Stack 4th
In her former lives, Vicki Schneider was an English teacher, business executive, professional speaker, trainer, CEO advisor, independent consultant, think tank facilitator, and jazz singer. She never imagined that 20 years later her happiest identity would turn out to be as a full-time hot glass sculptor, instructor, and studio owner.

ISGB News
The ISGB 2020 Gathering
Welcoming Keynote Speaker Kit Paulson
by Karyn Sweezy
The International Society of Glass Beadmakers (ISGB) is proud to announce its 2020 Gathering Keynote Speaker Kit Paulson. Kit will provide incredible inspiration through her work as she brings together art, science, and the absurd. For the first time, ISGB will also be sharing the keynote address with attendees of the Glass Craft & Bead Expo.

Personal Development
Creativity—Commissions
An Opportunity to Learn New Things
by Milon Townsend
Creating custom pieces of glasswork may seem risky to many artists, but working out the details with a client can be a chance to learn and grow. While making commissions is by definition doing what someone else wants them to do, it’s also an opportunity to broaden their palettes of artistic ability.

Architectural Glass
The Museum at Prairiefire
by Sara Sally LaGrand
Photography by Sam Fentress
The Museum at Prairiefire (MAP) buildings are like no other in the Kansas City area. Created with an expansive use of dichroic glass, the Museum has fire-like windows that wrap the buildings in a spectacle meant to mimic burning off the fields in the area to encourage new plant grow.

Winning Glass
Coatings By Sandberg
2019 Dichroic By Design Contest
by Dana S. Baldwin
Coatings By Sandberg (CBS) is delighted to present the winners of the 2019 Dichroic By Design Contest. Each year, CBS sponsors the event as a way to demonstrate the unique designs that can be created using dichroic glass. Artists from around the world submit work for consideration to be included in this amazing collection of creations.

Skills and Techniques
The Freeze and Fuse Approach to Small-Scale Kilnformed Sculpture
A Look at the Basics
by Bob Leatherbarrow
Freeze and Fuse is a simple technique originally developed by Paul Kimball for making small glass sculptures. A slurry of glass powder and water is packed into flexible molds, then frozen and fired. The silicone molds such as those used for candy making are readily accessible and work well for the process.

AGG News
Considering Ellen Mandelbaum
A Brush with a Painter of Light
by Troy Moody
Photography Elizabeth Felicella and Marilyn Ott
Most students of stained glass have encountered images of the work of Ellen Mandelbaum. Her commissioned art is easily recognizable, with its large swaths of colored antique glass washed in loose, painted movements and gestural lead lines. The artist creates quiet spaces juxtaposed against bold clusters of sweeping lines to occupy her architectural panels.

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