"Our blown glass work consists mainly of vessels with imagery. The images are based on dreams, experiences, and other things that affect us. They range from the sublime to the ridiculous. I enjoy the physical presence of the work, its size, shape and color. These vessels both document our lives and provide beauty and pleasure." - Rick and Valerie Beck
“My ideas are generated in my studio, from the process and the material itself. My influences are diverse. I react to the collective greatness of artists across time, particularly those in media that show the mark of the hand.” — Ken Carder
"Working with glass is an all encompassing process. It requires precise timing, subtle understanding of the material, tools, furnaces, and space around them. Each piece I make captures my focused time and thoughts. Glass is often described as a frozen super-cooled liquid. I prefer to think of it as static motion. With my work I try to have each form serve as a canvas to display the inherent beauty and simple elegance of the glass." - John Geci
Sculpting with hot glass, both solid and blown forms, Richard Jolley assembles fragments of a narrative: a female torso, a bird in flight, a baseball-capped fellow with a sphere or vase. Once the viewer is captured, he or she is compelled to unravel the story, which is always about relationships and the human condition. Mark Richard Leach, now director of the Mint Museum of Craft and Design, has written, "(Jolley's) figurative tableau are ironic, enigmatic, and deceptive". Jolley's figures, which are infused with a Pop Art sensibility, are sometimes cartoon-like in their exaggeration and undeniably pretty with their translucent purples, yellows, and cobalt blues. Jolley's work is included in the collections of the Knoxville Museum of Art, the Los Angeles County Museum of Art, the Mint Museum of Craft and Design, the Museum of Arts & Design, the Museum of Fine Arts, the Ogden Museum of Southern Art, and the Smithsonian American Art Museum.
"I want my work to convey the human touch and a link with nature.""I work in the vessel format because I enjoy designing and using well-made functional objects. There are many considerations that come into play when I start to work on a new series such as the color palette I will use, the interplay of form and the surface treatment and ultimately how the object will be used. I feel we live in a world that is becoming less personal and I view my objects as a link to something hand made and very individual and personal. I want my pieces to be held, touched and used to make the everyday more enjoyable. The pieces of course stand on their own as objects. I also have to confess to the fact that I am an avid gardener, especially of flowers, and I am selfishly on a quest for the perfect vase for every flower. Each piece that I make is unique, no molds or preformed parts are used, and I feel it imparts to each vessel an individualistic feel. It is a combination of timing, teamwork, skill of execution and many hours spent developing a vocabulary with my medium that enables each piece to appear effortless.” - Tommie Rush
"I visualize and sketch my sculptures as individual parts, later to be transformed into formal objects. Working with glass in this manner is not a traditional approach to the medium. It allows to create the slick lines and polished look that I strive for. A delicate balance of beauty and tension are what makes this work unique and curious. I have worked in this format instinctively since the beginning of my glass experience. In my first class I was cutting up vases and bowls and creating nontraditional objects. It just felt right." - Scott Summerfield
“I make art. A self-taught artist, I learned to weld in high school and my approach is somewhat crude. I enjoy shaping and piecing; hammering, bending, and rolling; then, welding these parts into forms, watching the warping effects of the heat and handwork bring forth unique characteristics into characters and sculpture. I often use scrap objects such as saw blades, barbed wire, and various types of nails to further detail my work.
The finishing phases are like working in a completely different art medium. I do sketch out and plan my work, of course, but as I prime to inhibit rusting, I begin to immerse in visualizing the layers and tiers of painting I am about to begin, in order to achieve rich colors and build textures. I have sometimes used a jeweler’s grinder and other tools to add detail. I use a water based automotive paint so the work can be indoors or in sheltered outdoor spaces.
I love the entire process of turning flat, cold sheets of steel into organic, lively creatures and characters, which might catch the eye by playful appearance, but inspire some sort of contemplations as well. Then I feel most satisfied in my process, especially when I am still wondering a bit myself.” - Bill Hickman