I'm endlessly inspired by the Mid-Century era—especially the Space Race years. It was a time when people looked to the future with wonder and optimism. That excitement sparked an explosion of creativity, influencing everything from architecture and interiors to furniture and fashion.

Homes were designed for gathering, entertaining, and living boldly. The priorities were clear: the kids could share a bedroom—we needed a conversation pit for records and martinis. Butterfly roofs, breeze blocks, fearless color, wild textiles, and imaginative design became the backdrop for a generation that believed the future would be extraordinary.

That blend of optimism, creativity, and unapologetic style continues to inspire every piece I create.

Most of my ideas arrive first thing in the morning—not as finished pieces, but as a flash of color, a silhouette, or a feeling. I'll wake up and, like a vampire in an old movie, sit straight up in bed and reach for my sketchbook. The real work happens when I quiet my mind and let the brainstorming unfold on the page. As I sketch, the idea gradually reveals itself. Once I have a direction, I hop on my bike and let the miles help me flesh it out.

Kiln-formed glass is glass that is shaped, fused, or manipulated using heat inside a kiln rather than being blown, cast, or worked at a torch.

No. While both are glass art forms, kiln-formed glass and blown glass are created in very different ways.

I work with glass cold, building and assembling each sculpture before using heat in a kiln to transform and fuse the material. Glass blowing, by contrast, involves shaping molten glass directly from a furnace while it is hot.

For me, the biggest differences are working practice and time.

Working Practice

Glass blowing is a team process. Artists work with assistants and rely on constant communication and teamwork to shape the glass while it is hot.

Kiln-forming allows me to work independently. While I enjoy collaborating with artists who work in wood or metal on larger projects, my creative process is deeply personal. I need the freedom to explore ideas, experiment, and solve problems on my own. The quiet focus of working solo is an essential part of how my sculptures come to life.

And, admittedly, it also means I get to choose the music in the studio and dance around like an idiot whenever inspiration strikes.

Time

Perhaps the most important difference is time.

In glass blowing, the artist has only a short window to shape the glass before it begins to cool and must be reheated. Decisions are made quickly, often in a matter of seconds.

Kiln-forming gives me the luxury of time. I can spend days—or even weeks—carefully planning, arranging, and refining every element before a piece is fired. This method suits the way I work: complete immersion, meticulous attention to detail, and the freedom to develop an idea until it feels exactly right.

The result is a process that is slower, more deliberate, and uniquely suited to the layered, intricate sculptures I create.

Every sculpture begins with glass that I create myself. I start by blending different colors of crushed glass and firing them in a kiln to form solid sheets. This allows me to develop custom colors and subtle variations that become the foundation of each piece.

From there, I build the individual elements that make up the design—shapes, lines, curves, and textures. The glass is cut, broken, and carefully formed using hand-carved molds to create the desired movement and structure.

The most challenging part of the process is understanding how glass responds to heat. Glass behaves differently at every temperature. At lower temperatures it softens and tacks together while retaining its shape. With more heat, it begins to bend and slump. At even higher temperatures, it becomes molten and flows like a liquid. Learning to control these transformations takes years of practice and experience.

The sculpture is built layer by layer. Each day, new glass is added to the design and fired in the kiln. The temperature is increased very gradually—often over a 12-hour period—to allow thousands of individual pieces of glass to heat evenly and release trapped air. Once the desired temperature is reached, the piece is cooled just as slowly to prevent thermal shock and cracking.

This process is repeated again and again, with new colors, forms, and details added at each stage. A single sculpture may go through eight to ten separate firing cycles, spending weeks in the kiln before it is complete.

The result is a sculpture that is built through a careful balance of artistry, heat, gravity, patience, and technical precision.

I plan to one day. My current studio is too small and frankly the neighborhood is not the safest place to be. The struggle to find art studio space is a battle shared by artists around the world. Especially for glass artists! We bring scorching heat, fumes, noise and a big mess! Who wouldn’t want me as a studio mate? If everything goes as planned I will be announcing a big move in the near future.