Please take time to reach out and connect…even if you don’t live in the same area. The wonders of technology bring us all just a few clicks away. Members can find contact info for these folks and other members if youlog into pnwglassguild.org and go to “For Members” (which only appears when logged in) and choose Member Contacts List.
Elizabeth Alexis, Portland OR Pree Carpenter, Eugene OR Dana Cilmi, Ridgefield WA Roejean Goodwin, Lake Elmo MN
Matt Laitala, Redmond WA Rachael Osborn, Vashon WA Cathy Stuchlik, Sandy OR
A number of you wanted to participate in our Powder Challenge last winter but it went on almost daily for a month and several people had to drop out because of other commitments.
A shorter version of our powder challenge would make a perfect Play Day! The exercises are quick and fun….you can choose which ones you want to try. Start with several 5 minute challenges! Since most of them get tossed anyway, you can even do it on paper….with black or colored powder. You can take a photo to keep for reference…..or if you want…do them on smaller pieces of glass and if you really like something, you can fire it.
Starting a fence
The point of the exercises is not to create works of art….but to have fun, experiment and learn how to move powders around to create shadows, highlights, and shading. You may never work just in powder but you might get some great ideas how to incorporate them into frit painting or other fused glass pieces, to add nice shadows and depth. You can also add powder to specific places and with specific shapes by making quick stencils from thick paper or light cardboard.
How to drag an outline
Put a light coating of powder down…with some light and dark areas. Take a business card or I also like to use cut up cereal boxes…the cardboard is easy to cut into shapes and has some give to it. As shown in these photos…scrape around and make a ball, an egg, or a piece of fruit….whatever you want….see how the lighter and darker areas give it the feeling of shape and depth. The edge of the card will also produce a hard darker line…. thick or thinner depending on how much powder you drag and what angle you hold it at.
A fence sounds like it should be really complicated, right? Look how easy it was with the side of a piece of cardboard. And it even creates a shadow on the side of each board! Then cut two notches sticking out from the cardboard and drag in the cross boards. You can use this to create buildings and walls, etc. This could be the base to which you add larger, brighter frit for more texture. It could give you a good base design on which to add enamels to add color and details. It is a fun way to play with floral designs.
The nice thing is that for the most part…you can just have fun…. if it doesn’t work quite right….tip the powder off, wipe it clean and try again. Each time you do it you will get better at handling the powders and various tools. Try things with different edges and surfaces….pull a fork through it….play with toothpicks, brushes, scrapers, feathers, spoons, textured tools, etc. Everyone try a tree, also try a tree upside down, some fruit, a flower with leaves, and then compare what each of you came up with and what worked best. Remember you could do a base design this way, fire it, then come back and safely play with more colors, shadows, or textures.
You could also do a Play Day with very basic quick things to try. Then do have another play day where you do more complicated designs, like a face, something you are scared of: (like a snake, a spider, a shark… ), or something in nature, a bird, your pet, etc. Also try the same basic design once by making the item dark on a light background and once scraping a light shape out of a dark background.
This is an easy Play Day that requires relatively few materials or space. Do the piece, take a photo, then dump it! It is just for fun and to learn!
If you are thinking of teaching or if you already teach and wish to pass on some tips be sure to Zoom with us at the June 22nd General meeting. Contact Barbara Kienle to get on the speakers list and help new techniques get taught well. Having a list makes the meeting run so much more smoothly!
There are lots of glass classes going on this summer so it’s a great time to add to your skill set. For example member Cheryl Chapman will be teaching her reverse enamel technique at the BARN (Bainbridge Artist Resource Network) on Bainbridge Island WA in July. There are several other members who teach specialized classes. You can find them on our Find A Teacher page under the Glass menu. Members who teach and are not yet on the list can log on and fill out the form at the bottom so a volunteer can add you.
I have gone many times to the Glass and Bead Expo in Las Vegas, but this was my first time as a teacher and booth holder. I walked 2-3 miles a day for the last few months to try to get this old body in shape. It helped improve my energy and stamina! I taught 3 days, 9-5 Designing the Vitrigraph Cane. I only had one day with each class and did not have the class time to have the students design and cut glass for their own designs. I wanted to teach design and a few advanced pulling techniques, and it worked very successfully!
I created six designs: Pinecone, Tulip, Rose, Geometric, Ladybug, and Flower (millefiori). I created step-by-step instructions with lots of full-color photos of the process. I turned this into a 72-page E-Book and a quick guide on a new product: The Pot Melt. This product has no need for a vitrigraph kiln but gives my metal pots another opportunity to create great elements. I sold out of them at the show.
I could not have done this successful class without the Pacific Northwest Glass Guild. I have volunteered for many years with the Guild and helped foster many new members and WOW did they come through for me. Suzanne Tyler, Lyn Kennison, and Margie Rieff came over multiple days and cleaned glass, cut and chopped glass for my 16-tack fused pots for the students. Suzanne also was going to Las Vegas show but was stacked with classes but wanted to help. She not only did glass cleaning and chopping but designed my E-Book cover and Pot Melt Guide cover for me! They were stunning! Speaking of the E-Book, Rae Williamson and Rose McBride proofed it for me.
I had been training 3 people for the last 3 months on designing the cane: Daryle Ryder, Penny Hsu, and Lisa G. Lisa had a family emergency and had to cancel but gave Daryle her seat in a class. Daryle and Penny stepped up and worked hard and magnificently! I also had a booth to staff and Daryle and Penny took turns in the booth Friday and Saturday. Penny spent the entire day Friday in class with me learning and helping sell the tools that Gerald McBride makes for me.
My adventure teaching in Las Vegas started because I had an online friend on the Vitrigraph support group, Shannon Lynch, who insisted I put in a proposal for Las Vegas for the last 2 years. She came to spend time in Oregon with family and stopped and pulled with me for two days. She had never experienced my type of Vitrigraph and insisted I put in a proposal, and I did. Once again Rae Williamson and Rose McBride proofed my two E-books and proposal. Greta Schneider took my hand made murrini and crated two example tiles for the booth and classroom the day before we left!. These example tiles were critical for demonstrating my custom plates and murrini designs. The Guild members really came through to help me pull off this awesome opportunity! Thank you.
I registered and actually took two half day classes myself on Wednesday. A morning class with making molds and an afternoon class with float glass. Wednesday night was loading and setting up the loading the kilns for the first day’s class. A special paragraph for Daryle Ryder….
Daryle was brand new and went through three solid months of training. She had to rebuild and reload so many designs. Understanding what the glass does as it is squeezed through odd-shaped holes is not easy. She had to learn to pull, cut and center the rod. She was fantastic at the show. She gave demonstrations, and her hard work paid off. Her tulip design was the best murrini design pulled!
The arrival to Las Vegas of the team that was to set up the classroom was delayed eight and a half hours and Daryle and I had to set it up the classroom ourselves. We unloaded the truck, set up the table displays and sales table, supervised the kiln rack building, and loaded the kilns for the first day of class. It was a lot of work but we got it done.
I have been taking classes for almost three years with Narcissus Quagliata and thinking and learning about the design processes. Sketching, planning, making test tiles and alternative hold times and firing schedules. I discussed the science of glass and the nature of multiple firings with components and the effect of cumulative heat. Components is Narcissus’ biggest lesson as it was mine also. Designing the cane is the same. We pre-fire components, which means we will be firing 2-3 times and the cane might need even another firing when used. Firing schedules need to be slowed down and hold times altered to allow the components to meld. I taught design and glass movement and my students loved it. The class was designing the cane not twisting, and lining up the pull.
Sunday I got to work the booth that Sue Darte shared with me. I bought her second-ever pneumatic cane chopper and I brag about it and sell lots of them on various FB pages. She originally gave me a 4 foot table but expanded it to a 6 foot table. She was even more awesome than the finely engineered cane chopper! I had one in the class and demonstrated it, and my class folks helped sell her out.
I finally got to spend time in the booth on Sunday. It was a fabulous opportunity to network and to meet other attendee’s and instructors. There were great networking opportunities throughout the show. The whole event was just wonderful and the party Saturday night was also great fun. In addition to having such a wonderful time, I got some really interesting offers to teach in some other venues or other locations. More about that will be announced in the future, and one may even be in Europe! I also picked up some great presenters for our monthly glass guild meetings!
Pot melts are a fascinating method for creating free-form glass art. Ever wondered how those mesmerizing, flowing glass pieces are created? This presentation will cover: Pot and glass preparation, kiln setup and firing considerations, dynamics of molten glass flow, safety precautions, tips, finished projects
pot melt photos from Carlyne Lynch using her one of her multi-hole plates
June 22: Teaching Glass Workshops and Classes
This presentation is designed for glass artists looking to expand their practice by offering educational workshops and classes. We’ll delve into the practical considerations of establishing a teaching program, covering essential aspects such as studio space requirements, effective advertising strategies, and insurance coverage. Whether you’re a seasoned glass artist or just starting, this session will provide valuable insights to help you build a thriving and sustainable teaching business.
The Video of the March General Meeting on sliders is now available to logged in members. After logging in, go to Glass>Education and scroll to the topic you want to watch.
Please contact VP Barb Kienle if you have an idea for a future meeting.
We will be having a load out of all the remaining stuff in the storage unit to move it to the new less expensive location. We’ll probably need some help with that. Please watch for the email. ContactLesley Kelly
As mentioned above the Guild doesn’t happen by magic. Actual people have to take the time to make things function. Please contact the team you might like to be a part of for more info: website, newsletter and other events. Every little bit you can do helps spread the load.
Members Mel Williams, Linda Schnell, and Jean Schaffer set up things during a recent scrap melt Play Day at Karen Seymour’s in Seattle.
Here are their pieces before fusing in kiln-washed terra cotta plant saucers. The empty saucers were pre-fired to 1525F to remove the waterproofing so the kiln wash would stick (and be sure they wouldn’t break).
The pieces after fusing at 1525F for 1.5 hrs. Most of the pieces were then edge-smoothed, fire polished, and finally slumped in a cone mold. We were surprised that the piece with the hole was 7.5 mm thick: we had weighed things to be sure to have enough glass according to the 6mm rule.
Bullseye Glass Company‘s Janet Bartholomew and her helpers had two presentations: “How glass is made” and a glass cutting activity.
Barb Kienle also had two presentations: Getting Started with Fusing and Tack Fusing Effects.
Not shown: Daryle Ryder had a well-received Art for Your Garden. Shawna Hovey had two presentations on Dichroic Jewelry. Greta Schnieder gave a presentation on Dichroic Jewelry.
Once again, the demonstration booth at this year’s Gathering of the Guilds was well received, and attendance was high. Thanks all who helped make the demonstration booth and the show so successful.
Art In Bloom Garden Art Studio Tour in Seattle WA:
Glass artists Lael Bennett (in corner), Andi Ficker (in navy blue), and Karen Seymour (in hat) discuss glass with a studio tour visitor in Karen’s yard.
Stephanie Johnston (right) talks with a visitor about the display of processes and intermediate steps she put together.
Please send us photos of your glass events:
Having a photo makes it so much easier to invite people to participate in an event next year. If you are part of or go to a glass event and see one of our members please take some photos and send the best 2 to the Newsletter team (400 to 600 px or “medium” resolution, about 500 KB, not more than 1MB if you can help it).
are via Zoom, usually on the 4th Sunday of most months, at 3:30 pm (no meetings in April, July, August, or December). Contact our VP if you have suggestions for future topics. You don’t need to be a member to attend our General Meetings but we would love to have you join. Videos of many meetings are available to logged in members by choosing Glass>Education from the menu.
September 5 ACE Glass Exhibit opens, La Grande OR — Applications open now 13-14 PNW Glass Guild’s Open Studios (registration will be announced in our July issue)
So far there are 3 Guild picnics scheduled. Attend at least one and get inspired by talking with your fellow glassies! July 20 Guild Picnic, Seattle WA August3 Guild Picnic, Battle Ground WA (NE of Vancouver WA) August 23 Guild Picnic, Fairview OR (NE Portland) (contact president Lesley Kelly if you want to host one for your area)
Our glass events don’t happen spontaneously: it takes organizing and prep. Give a little time and energy, get a lot more fun, glass info and sense of community.Just a few hours a month helping one of the teams with the many ongoing, easily-leaned tasks will be greatly appreciated. For more info contact: Newsletter/publicity team, Website team, Sponsorship team
I first discovered mosaics back in 2000, when my mother-in-law invited me to a class. The style we learned was very different from what I do today, but I absolutely loved it — I was hooked from the start. At the time, I was working for an internet company, but when the dot-com crash hit and I was laid off, I saw an opportunity. I was already obsessed with mosaics, spending all my free time on them, so I decided to take the leap and do it full-time. My husband was incredibly supportive, and that decision set me on the path I’m still on today.
From the beginning, I wanted to learn as much as I could. At the time, Sonia King was one of the only one people teaching mosaics in the U.S., so I traveled to Texas to study with her. I also went to Italy a couple of times for workshops, which was such a fun and inspiring experience. But honestly, most of what I’ve learned has come through experimentation and countless hours in the studio: learning what works (and what doesn’t) through hands-on trial and error.
A Signature of Soothing Symmetry and Color
My signature style is very soothing since I’m drawn to symmetry and the calming effect it brings. I call my mirrors “jewelry for your wall” or “sparkling jewel mirrors.” I love working with color, especially palettes that lean toward softness and harmony, and often use colors that sit next to each other on the color wheel. You won’t see a lot of bright or jarring tones in my work; instead, I aim for combinations that invite peace and balance.
Inspiration comes from all over — a painting I admire, a piece of fabric, a beautiful pillow. When I’m creating custom work, I often pull inspiration directly from a client’s home, so the piece feels truly integrated into their space. I work a lot with prefabricated glass tiles, and I use an enormous number of beads, sometimes thousands in a single piece. Over the years, I’ve developed techniques and approaches that help me work with greater efficiency and precision when creating my signature pieces.
Creating Beautiful Spaces That Nurture Well-Being
For me, it’s not just about making art — it’s about creating beautiful spaces. I believe that when a space is beautiful and truly resonates with the person living in it, it can have a real impact on their overall well-being, mental health, and sense of calm. It’s about providing a kind of nourishment, a foundation that helps people feel at ease, and opens up space for their own creativity to flourish. My work becomes part of that larger environment, and that’s something I really cherish. That’s part of what makes this work so meaningful to me.
The Joy of Teaching and Awakening Creativity
One of the most rewarding parts of my practice is teaching. I absolutely love helping people create — whether it’s a mirror, a birdhouse, or one of the other projects I offer. There’s something magical about watching someone walk into my studio saying, “I’m not creative,” and then seeing how moved they are by what they’ve accomplished by the end of class.
What I teach is actually very accessible. Even though the finished pieces can look intricate or intimidating, the process is approachable for people at any experience level. It’s incredibly rewarding to help people tap into their own creativity and walk away with something beautiful they never thought they could make. Every single person is creative, but as a teacher, I know that sometimes it takes a little guidance and encouragement to help them tap into that. In my classes, I help people trust their own intuition and create something that’s not only beautiful, but also deeply personal and meaningful to them. That’s what makes each piece so special — it resonates with the maker.
Expanding Creativity: Galleries, Workshops, and Kits
These days, the majority of my work is sold wholesale to handcrafted galleries across the U.S., as well as specialty online retailers like ArtfulHome.com. Alongside that, I create custom pieces for clients, teach workshops, sell supplies, and offer DIY kits so people can create from home.
Looking ahead, I’m excited to help even more people discover their creativity. This year, I’ll be traveling to teach workshops in Orlando, Austin, Oakland, Portland, and of course, here in Seattle. I also offer DIY mosaic kits that people can complete at home, and I’m launching something new: a Custom Kit Day at my Seattle studio. People can come in, work with me to design a personalized kit, and then take it home to finish on their own. For anyone who isn’t a mosaic artist but wants to explore, my substrates also work beautifully with stained glass and other materials.
When I’m working in the studio, you’ll often hear Taylor Swift or Sara Bareilles playing in the background — their music keeps me company while I work. One of the things I’ve loved most about this career is the flexibility it’s given me to raise my kids, who are now college-aged. It’s been such a gift to grow both as an artist and as a parent over the years.
For me, mosaics are more than just art — they’re a way to help people bring beauty, calm, and a sense of meaning into their lives and spaces. I’m excited to continue creating and sharing that joy with others.
If you’d like to learn more: • Visit my supply page for a list of substrates (mirror, birdhouse, and picture frames) • Visit my kit page for a list of mirror and birdhouse kits • Check out my teaching schedule • Interested in a Custom Kit Day? Sign up to get a notification email when the date is scheduled
These companies and organizations are an integral part of the glass art community. We thank our Sponsors for supporting our Guild through either generous donations or by offering discounts to our Members. Please take time to thank them for their generosity when you visit their businesses.
Gold Level Sponsors
Silver Level Sponsors
Artifex Toolworks – Glass Alchemy – HIS Glass Works
I’d always been drawn to glass art, especially glass paper weights and stained glass, but it had never occurred to me that it was something that I might be able to create myself. That changed in 1998 when my wife and I took a class in stained glass at Roses Glassworks in Tigard. I was immediately hooked and after careful consideration, decided that I enjoyed it enough to justify buying my own tools and investing in a grinder. Little did I realize how those decisions would evolve into the hobby that would consume most of my free time and finances for the next quarter century and more.
I subsequently learned about glass fusing and decided to explore that with my first kiln in 2000. Unbeknownst to me at the time, the Oregon Glass Guild, which has since evolved into the Pacific Northwest Glass Guild, also got its start that year thanks to George Kjaer, an amateur glass blower in Eugene. The guild soon expanded to include chapters in the Gorge and Portland, where I discovered it and began attending meetings and taking classes. I kept asking why the OGG website wasn’t being updated and soon found myself being tasked with building an entirely new website and being invited to join the guild board of directors. I wound up serving as webmaster and board member in various capacities through about 2016.
As happens with many volunteer run organizations, only a few people actually volunteer for leadership positions and those leading the Portland chapter were getting burnt out after many years at the helm. I naively accepted an invitation to dinner one night with those current leaders at which I was shanghaied into becoming the new Portland chapter President in 2008, continuing through the end of 2010. A couple of years later, facing the possibility of seeing the guild disband due to a lack of leader candidates at the state level, I volunteered to be the state president was served in that role from 2012 through 2014.
I’ve since retired from guild leadership but have remained involved with the guild as it has grown into the PNWGG. Most notably, my wife and I have worked with fellow guild member, Linda Gerrard to host classes at our studio where guild members have an opportunity to learn from visiting glass artists that are leaders in their field. The first work I created and exhibited at the Gathering of the Guilds show was pretty basic stuff; coasters, business card holders and the like. I didn’t sell much, but I was having fun.
I soon began to develop a style and became known for work that was primarily based on straight lines and geometric patterns. For a period of time, I was really into reproducing quilt patterns in glass
Then in 2009, inspired by the work of Steve Immerman, I started working with strip construction. That’s where you cut narrow strips of sheet glass, about 3/8” wide, then stand them on edge to create 3mm wide lines. That technique allowed me to create much more intricate patterns, such as my Bargello Platter which is still one of my favorite pieces I’ve ever done.
After the Bargello Platter, I continued to pursue the idea of creating “pattern bars” using strip construction, then cutting them on a wet tile saw to create components that could be assembled into complex patterns such as this bowl with a woven basket motif.
And this wavy piece that I call Magic Carpet.
I love experimenting with new techniques, so my work tends to jump from one extreme to another over time. In 2022, I was intrigued by Paul Tarlow’s “frit stretching”. Not being one to follow directions though, I decided to try using pieces of pattern bars instead of frit and came up with a series of pieces I call Time Portals. Some people have commented that this example makes them think of a faceted diamond.
I’ve long admired the work of Ian Chadwick because it was also based on the same type of straight-line intricate patterns that I had striven to create with strip construction. However, Ian’s work used stringers rather than the edges of 3mm sheet glass, so he was able to create more detailed patterns than I had managed. Last December, I had an opportunity to take a class from Ian to learn the details of how he creates his pieces. Ian works almost exclusively with 45 and 90 degree angles when cutting components for his work which gives his pieces a characteristic look that is unmistakably his. Wanting to differentiate my work, I decided to see if I could apply his technique while using 30, 60 and 90 degree angles and came up with this piece that I call Fusion Reactor.
Another artist whose work I admired is Glenda Kronke. I purchased a video class of her teaching the technique she uses glass powder to create fantastic “Coral” like works. As usual, wanting to differentiate my work from hers, I experimented with variations on her methods to develop my own ways of working. I do enjoy making Coral pieces that resemble Glenda’s, but I am especially happy with this open weave technique that grew out of my experiments. I especially like the shadows that these pieces cast when lit from above.
David blows a challenge piece during RefractSeattle.org every year. This one was into driftwood.
If you get glass blower David Smith talking about glass, local or otherwise, you’ll find it both informative and entertaining. He has been working with glass and the people who do it for a long time. As the owner/operator of Blowing Sands Glass and the attached Laura Frost Gallery in the Ballard neighborhood of Seattle David is among the few guild members who have an actual open-to-the-public workspace (you do need to make an appointment and wear a mask). His students rate his classes very highly and his class schedule is often filled two months ahead.
He was introduced to the art of glass blowing in 1978 while studying for a degree in Materials Science and Engineering at MIT. His final two years were spent in the Materials Artifacts Laboratory where he did analysis on man’s earliest evidence of ceramic processing, the pigment used in cave paintings, and worked on a project tracing the transfer of porcelain technology from China down the silk road to Europe. His thesis subject was soft-paste porcelain produced in France during the 18th Century. After graduating in 1983, he returned to Seattle and started working full-time as a glass blower.
In 1987, he bought a one-way ticket to China and then traveled across Asia and the Soviet Union, and spent the next 5 years living and working with artists in Finland, Germany, France and Ireland. He returned to Seattle in 1992 and established his own studio/hot-shop in Ballard. His art glass has been collected and appreciated around the world, and his glass castings are installed in the Atlanta Federal Building as well as public and private buildings in the northwest. His work is an extension of his technical background in glass science and his love of the traditions and history of glass blowing throughout the world.
Blowing Sands will be one of the stops on Seattle’s Art In Bloom garden art studio tour and sale April 26-27 so you can easily be tempted to get one of his colorful balls, birds or other pieces for your yard. You can see more of David’s work at BlowingSands.com
We are looking for members to shadow board members and/or join the various teams in the upcoming year. This will aid in a smoother transition as new board members step up in the future. It also gives you a chance to see behind the scenes and what it takes to keep the Guild engaging and relevant in your glass journey. Reach out to president Lesley Kelly to volunteer or if you have any questions.
We are at the time to switch over to Daylight Savings time and get a start in Spring, especially with the nice weather we are having. A lot of us start thinking about spring cleaning when the weather starts to get sunny, and that is what the guild will be doing from March-May of this year.
The guild has started to clean out our storage unit in Portland that has been used for many years to store everything that the guild has used for shows, etc. The guild has a large amount of pedestal furniture left over from previous year’s Gathering of the Guilds. We want to make this furniture available to guild members as we work to clean out the storage unit and move to a smaller, less costly unit. The furniture can be picked up from the storage unit on Saturday, March 22nd. Please see the event section on the website for more information.
A reminder that coming up in April we will have members participating in the Gathering of the Guilds April 25-27, 2025. The show will be at the Oregon Convention Center again this year, and not only will there be amazing work on display and for sale from our members and other guilds and the Oregon Potter’s Association, but this year we will feature work from new guilds such as the Oregon Blacksmith’s Guild, the Sculptor’s Guild and the Printmakers Guild. See the event listing for the times of the show.
We are still looking for a volunteer to lead the Newsletter Team and represent the team on the PNWGG Board. This is a very important position that is invaluable to the guild. Please contact Greta Schneider for information on the newsletter duties.
And plan to attend one or more of the four guild picnics that will be scheduled throughout the summer – dates to be announced soon.
Please take time to reach out and connect…even if you don’t live in the same area. The wonders of technology bring us all just a few clicks away. Members can find contact info for these folks and other members if youlog into pnwglassguild.org and go to “For Members” (which only appears when logged in) and choose Member Contacts List.
Kristin Culotta, Camas WA Lulie Hardenburger, Corvallis OR Tyra Hart, Dupont WA Heather Howard, Issaquah WA Josephine Isaacson, Kirkland WA
Kari Kerr, Forest Grove OR Nancy LaCivita, La Pine OR Rachael Osborn, Vashon WA Jackie Richens, Aloha OR Kim Stover, Bend OR
Mitzi Kugler and I were at the Museum of Glass in Tacoma, Washington a couple of months ago and got to see some gorgeous work in the current gallery exhibition. There is a wonderful combination of the museum (with both permanent and traveling exhibitions), a hot shop – so you can actually watch hot glass being made, a terrific store and much more. Whether you CREATE glass art or just love looking at it, you will enjoy the Tacoma Museum of Glass. More info and details are available online.
One artist whose work Mitzi and I were particularly interested in seeing is Vittorio Costantini. He was born near Murano, Italy in 1944 and started doing glass at the age of 11! He does absolutely incredible torch work creating insects, butterflies, fish, shells, birds, flowers and more. Those tiny bees and the other insects are life size and they literally look real!
If you look back at the much larger insect pieces done by Sean Goddard, a member of our guild who was one of the featured artists in our last issue, it is fascinating to look at the incredible realism and beautiful workmanship creating glass insects, but using two entirely different techniques and very different sizes! It shows what an amazing variety of artistic work that can be created in glass using very similar subjects!
Vittorio’s work will be on display through June 15, 2025 along with beautiful artwork by several other highly talented artists. More info and details are available online. There is a small booklet of postcards of Vittorio’s bugs for sale in the store too (see photo). I’ve attached some photos for a taste of the quality of his amazing work, but there are many more to see in the museum. Those of you who have tried torch work will understand how incredible these are. The wings especially amazed me.
The Tacoma Museum of Glass has several other exhibits too:
• Internationally acclaimed glass artist Dale Chihuly was born in Tacoma and helped put a spotlight on glass art in the Northwest and has been quite involved with the museum over the years. The museum has a number of his pieces in a permanent collection plus a beautiful 500 ft. long Chihuly Bridge of Glass, a pedestrian overpass that links the museum to downtown Tacoma!
• If you get to go to the museum don’t miss the “Kid’s Design Glass” in one of the hallways. Those pieces will make you smile! Anyway, this is a wonderful resource that is close enough for most of us to visit…and well worth it.
There will also be about 350 artists from 8 other organizations: • Creative Metal Arts Guild • Guild of Oregon Woodworkers • Oregon Potters Association • Pacific Northwest Sculptors • Portland Bead Society • Portland Handweavers Guild • Print Arts Northwest • Columbia Willamette Faceters Guild — for more about the event as a whole see GatheringOfTheGuilds.com.
Treasurer Linda Roman and President Lesley Kelly have volunteered to manage the common check-out and wrapping table again this year. Volunteers help make it easy for you to buy additions to your glass art collection. To volunteer to help with the event please contact Lesley Kelly
March 16th:Create Stunning Sliders. Carlyne Lynch and Andrew Jagels will be demonstrating this technique of making sheet glass.
There will be no General Meeting in April. We encourage you to go see the demos at the Gathering of the Guilds in Portland.
Videos of the January (Photographing and Uploading Images) and February (Organizing Your Studio) General Meetings are now available to logged in members. After logging in go to Glass>Education and scroll to the topic you want to watch.
Please contact VP Barb Kienle if you have an idea for a future meeting.
Free Display Pedestals, pick them up on Saturday, March 22nd in Portland:
The guild has display furniture and lights left over from previous years’ Gathering of the Guilds and we need to clear it out of storage.
(number available revised on 3/19/2025) # available — type of item 8 — Hollow Core Doors 6’8″ tall, 28″ wide
Pedestals (made of plywood, you’ll need both a base and a top) 2 — 45″ Tall Medium Pedestal Base Tall 45″ tall 2 — 41″ Tall Medium Pedestal Base Medium 41″ tall 4 — Medium Pedestal Tops 16″x16″
2 — 48″ Very Tall Narrow Pedestal Base 2 — 45″ Tall Narrow Pedestal Base Tall 2 — 42″ Medium Narrow Pedestal Base Medium 2 — 37″ Short Narrow Pedestal Base 16 — Narrow Pedestal Tops 12″x12″
Lights – Many sizes and types – first come first served Here are some pictures of what the furniture looks like assembled and unassembled
The pedestal pieces and lights will be available for pick up at the storage unit in downtown Portland on Saturday, March 22nd. The available time slots are 11:00 am, 12:00 noon, 1:00 pm, 2:00 pm and 3:00 pm. ContactLesley KellyWe have no capacity to deliver the material to any other location and we cannot hold it for you. Members have priority but if you are not a member you can ask Lesley to let you know if there is a time slot left.
Secure Storage Portland is at 1323 NW 16TH Avenue, Portland, 97209. Because the storage facility is small and access to the unit itself is only by coded elevator, we can deal with only one party at a time. In addition, you will need to bring someone to help you load your pieces into your vehicle; other volunteers are not available for that. It is important to decide what slot works for you and to contact Lesley Kelly. Please provide good contact information so that you can contact Lesley to let her know you are at the location so she can get you in. Carts will be available at the storage location to help bring material down from the unit and out to your vehicle.
VOLUNTEERS NEEDED:
We will have a clean out day at the storage unit on Saturday, May 3, 2025, from 11:00 am to 3:00 pm to clear out as much stuff as possible before we close out the storage unit. In addition, we will be having a load out of all the remaining stuff in the storage unit on Saturday, May 17, 2025, from 11:00 am to 3:00 pm to move the material to the new storage location. Assistance from as many guild members to help with this clean out and move will be greatly appreciated. We will be moving to a new storage unit that we hope will cost us much less than what we are paying now for storage and so any help you can provide will be much appreciated. ContactLesley Kelly
