FLOW SUMMER 2016
Letter from the Editor
by Jennifer Menzies
Jennifer Menzies, editor of The Flow, reminds readers what a close and supportive community flameworking artists have developed over the years. The Summer 2016 issue of The Flow is a wonderful example of how this community comes together to highlight glass artists who are promoting each other while making a difference throughout the world.
The Flow 2016 Marble and Paperweight Gallery
The Flow 2016 Marble and Paperweight Gallery features the work of twenty flameworking artists. This collection showcases beautiful and innovative glass art that includes nature, outer space, geometric, floral, carved, and abstract designs.
The Marble Weekend at Wheaton
by Josh Mazet
Photography by Paul Katherman, Jake Ripley, Jeff Dimarco, Sarah Sheafe Photography, Travis Weber, Sean Clayton, and John Bridges
The Wheaton Village Marble Weekend began over a decade ago and has early ties to the glass paperweight show that would ultimately become Marble Weekend at Wheaton. This show features demonstrations by featured artists and provides a place for established and contemporary artists and dealers to meet and share their glass art.
Finding Your Marbles in the Collection of the Rakow Research Library
by Beth Hylen, Librarian at the Corning Museum of Glass
Photography Courtesy of The Corning Museum of Glass
The Rakow Research Library at The Corning Museum of Glass is the world’s foremost collection of materials on the art and history of glass and glassmaking. Searching the Rakow catalog reveals 489 titles connected to marbles. It also includes the extensive marble memorabilia collection donated to the Rakow by Bertram Cohen.
Losing Your Marbles
The World’s Biggest Marble Hunt
by Will Stuckenberger
The World’s Biggest Marble Hunt, designed to get everyone involved through social media as a way to introduce men, women, and children of all ages to the wonderful world of the marble, will begin on July 23, 2016. Participants will design their own marble hunts and provide rules and clues for finding these treasures.
International Marble Ambassador
by Sid Black
Marble artist, John Bridges, aka Black Fire, is a glass artist who specializes in art marbles to express and advance his preoccupation with creating fine micro detail. Essentially self-taught, he has been steadily refining his method and voice since 1999 working as a solo artist in the glass mecca of Eugene, Oregon.
Barbano in Murano
Contemporary Art Meeting Traditional Techniques
by Elizabeth Murano
Anthony Barbano introduced fumed glassblowing to glass artists in Murano, Italy, iin March 2016. The artist has been blowing glass for nearly a decade and specializes in handblown gold- and silver-fumed glass memorial pendants and collectible marbles. He also teaches glassblowing classes and workshops to students of all levels and abilities.
Discovering the Thrill of Marble Making
Text and Photography by Wendy Gray
Andrew Gray was operating a gift shop in Key West, Florida, in 2010 when Colorado glassblower, Keith Engelmann introduced him to creating glass art. A short stint in “wrap and rake” production work, then later meeting Ron Bearer, Jr led him to marble making, which has become Gray’s preferred expression in glass.
by Darlene Welch
Information on the latest in new glass types and colors, supplies and tools, kilns, books, patterns, and anything else that glass artists and enthusiasts need for working in hot glass can be found in the What’s Hot section of The Flow.
Encasing a Mini Quartz Object
Laughing Drama Mask Paperweight
Text and Demonstration by Konstantin Kraft-Poggensee
Konstantin Kraft-Poggensee demonstrates a new technique using quartz glass filters. Commonly used in scientific glassblowing, these filters can be crafted into small objects using diamond tools, then easily encased in clear borosilicate glass. The beauty of this material is that it will not deform, even at high temperatures.
Making a Custom Double Lenz Lickin’ Monsterz
Text and Demonstration by Chad Parker
Photography by Sam and Rebecca Andrew
Chad Parker demonstrates the use of colored glass rod and stringers to create his signature Monsterz marbles that feature comic faces encased in clear borosilicate glass. The artist also shares techniques for writing words with stringer that are then included in the marbles before the final encasement and shaping.
Tucson Flame Off 2016
by Sara Sally LaGrand
Photography by Nick Rob Letson
The Tucson Flame Off, known for its combination of skill and fire, saw over 500 participants converge on Sonoran Glass School for the annual event in 2016. Eighteen glass artists participated, with first place going to John Ryszka II for his Hallucination piece.
Text and Demonstration by Tim Keyzers
Photography by Mason Linder
Tim Keyzers demonstrates techniques for encasing fumed skull marbles. An opaque 3-D skull is created using a skull push carved from graphite by the artist. Varying results can be obtained by using subtle differences in the size, shape, and color to change the emotion reflected in the face of the skull.
Text and Demonstration by Larry Zingel and Brett Young
Larry Zengel and Brett Young of Hot House Glass demonstrate how to create checkerboard patterns on marbles. Tips and techniques are included for calculating measurements for the single squares and full checkerboard pattern as well as for the marble core on which the pattern is placed before encasing.
Examining the Properties of Silver and Gold
Taking an Extended Look at the Borosilicate Glass Fume Theory
by Freddy Faerron
Photography by Ben Ramsey, Sasha Hess, and Dale Mitchell
Freddy Faerron continues his work on examining the scientific properties of silver and gold that allow them to be used for fuming glass. Studies in silver and gold fuming are reviewed, and the physics of fuming applications are explored as well as the principles of conductivity and thermal coefficients.
Storing Kiln Shelves
by Arnold Howard
Photos Courtesy of Paragon Industries, L.P.
Arnold Howard, who writes instruction manuals for Paragon Industries, L.P., discusses the importance of taking precautions when storing kiln shelves to keep them from breaking. Tips include storing them vertically in a dry place, removing any bits of glass before storing, and storing them inside the kiln when not in use.