I’m not sure yet if it’s a detour or a new direction, but I’ve been working with color in a new way–and loving it. Since my winter hibernation and hiatus from making in the glass studio, I’ve worked almost exclusively with color bar.
I needed a whole new inspiration album for my photos from Iceland and the saturated, smooth color tones they invoked called for something more than powders or frits–my go-tos for the past two years. Then I started experimenting with the double color drop and realized that bar color can bring the uniqueness that I love about frit and powder. You see, I like not knowing exactly how something will turn out and knowing that I’ll never be able to replicate a piece exactly again.
For me, color bar has always equated with a kind of uniformity and precision in color and application that I don’t want when I’m making something handmade. I don’t want to make something that I know I can duplicate or that a machine could make (and probably better). I like uneven lines and scatters of color left to chance. And while I’m sure if I work with the same bars of color over and over again I’ll start to get closer to replication, I don’t know that I’ll be able to get two pieces exactly the same. And that has opened up pages of ideas.
My pieces have gotten bigger and my color palette is morphing.