A lot of my approach to glass art is about learning the properties of glass and its relationship to surface tension and then making things that use its natural qualities to create beautiful objects without fighting them. You can, of course, make beautiful glass art by stretching or blowing or flattening, but I use molds and surface tension pretty much exclusively.
I love to see things transform and become friendly and round in the kiln. It's very satisfying. I think a lot about the way we think about glass, as fragile and difficult and sharp, which is so defined by the fact that we usually demand it to be thinner and lighter than the 6mm it "likes" to be. So it's easy to damage and sharp when it breaks.
It works so well as a commentary on myself, and how society puts me in a position where I am difficult and fragile and then defines me on how I break. That's why my glass practice is so centralized around glass that's rounded and puddled out. Letting glass be what it "wants" to be is very healing; I work to give myself the same grace I give my artistic work.
