H.G. Tell us a bit about your education background and how you found your way to art.

I.T. I’ve always had a desire to create and to try new things. My formal education was not focused on the arts—that came later. I have a Bachelor of Arts in political science with a minor in international relations from California State University, Chico. Although I’ve not pursued a formal degree program in glass, I have attended classes and individual workshops in glass fusing. I have also studied science extensively—which definitely helps when working with glass. But, basically I’m self-taught. I never had anyone tell me I had to stay within the lines with glass—a good thing or I would never have tried half the things I do. They would have told me it wouldn’t work. Experiments and exploration are part of who I am, and glass provides endless opportunities to do both things. I like to push the envelope in different mediums. I can’t imagine ever getting tired of working with glass and seeing it in its orange molten state, then back to solid again. It’s incredibly exciting to me.

H.G. How did you get from political science and international relations to fused glass?

I.T. I did work in my field and filled my weekends with whatever art or craft projects I was interested in at the time. But once I saw my first piece of fused glass, I knew that was what I needed to do, and have been fortunate enough to follow my passion ever since.

I began making every gift I could in order to justify my glass habit. Things evolved from there, and people actually wanted to buy things I made. With a little money in the “glass” kitty, I was able to expand the materials with which I was working, buy improved equipment, develop my style and technique—and then finally had enough confidence to approach galleries.

Now, I’m represented by galleries, teach in fabulous places, and receive commissions from around the world to create everything from a special wearable piece to match an outfit to designing a chandelier to making all the tiles for a kitchen or bath to creating a special set of serving platters and dishes as a wedding gift. It often makes my head spin, and I am in awe of my good fortune.

H.G. Should we assume then that you are a full-time artist?

I.T. Like all other moms and wives, I do many jobs! Fortunately, though, I have the full support of my family and am able to devote my energies to working in art. I try to put in a minimum of four hours daily in my studio, which is located at my home. When I began in art, I was newly married and soon was working with a baby on my hip. I bought a small kiln and, with the little spare money and time available, began making gifts for friends and family as my excuse to work with glass. My children are now 12 and 16. They love art too, which helps support my efforts. Even my husband pitches in with help in the studio when he is able to or when there are big orders to complete.

H.G. I understand that you teach your techniques. What have you gained from your teaching experiences and what do you try to instill in your students?

I.T. I am honored to be currently on the faculty at Arrowmont College of Arts & Crafts in Gatlinburg, Tenn. I have taught special classes there for the past two summers and will return again twice in 2004. It is a magical place that really allows the teacher and student to delve into the medium. During these very intense classes, I try and remind students to think “outside the box.” I try to honestly share my successes and failures with them so that they can become technically proficient without having to make all the same mistakes. They also inspire me to constantly come up with new ideas and techniques to share with repeat students.

H.G. Tell us about the inspiration behind your pieces.

I.T. My images and ideas are a genuine reflection of those things I love: travel, people and color. My latest series are inspired by world travels that I’ve been fortunate to experience. The Tribal Visions series reflects the shades of Africa on safari—golds and browns of the grasses of the savannah—hidden symbols and petroglyphs—a memory of the warm colors of a lion’s mane.

The Spice Route series shouts color in reds, black, dark blues, perhaps reflecting the colors of the silks and beads traded so long ago in China and brought to the sandy, dusty countries along the Silk Road—Afghanistan, Kazahkstan, Armenia and Turkey.

The Tropics series allows me to remember an amazing visit to Bali and other Indonesian islands, as well as Thailand, Vietnam and Malaysia. Nothing but glass can recreate that special green of the rice fields, the vibrancy of multi-colored sarongs or the intricate batik designs.

Another evolving series I began last year, Vineyards, came from sharing special times at a friend’s small vineyard and watching the grapes grow and mature and then participating in the harvest. I loved working in shades of verde, aubergine and amber—colors that reflect the hues of the vineyards.

H.G. Travel is incredibly important to you, isn’t it?

I.T. My parents have been the strongest influence in my life, and they never hesitated to drag us around the world, staying in pensiones and being invited to eat in kitchens wherever we went. Fortunately, my family has been bitten by the travel bug as well, and we try to do a major trip every year or two. We have spent a month in Indonesia on the islands of Bali and Lombok, and have stayed on atolls in primitive huts with no electricity, cars or running water on the whole island!

Last year, we spent the summer on safari in Africa, specifically Zimbabwe, Botswana, South Africa and Swaziland. Again, we explored the country in untraditional ways, venturing into towns where they had never met people of a different race than their own. We were invited to stay with the chief of the village as honored guests. We were treated to special meals cooked outdoors in open pits and were delighted to be entertained with wonderful dancing in fabulous traditional clothing. Another source of inspiration!

My husband and I have snuck off to Europe and explored the Loire Valley with all the splendor of the vineyards of France, and to the Orient where we visited the Great Wall of China and spent the day with painters in the town of ZouZhou. Next, we are off to Thailand to visit the tribes of Chan Mai.

I.T. I create both practical (functional) and decorative glass. Practical might include a light fixture to hang in a dome of a house, decorative custom tiles, drawer pulls, door panels or glass birdbaths. I also do some unique and interesting wearable art. I like to think that while these things are practical and useful, that they are first of all art and make the owner’s life richer. Sculptures and hanging glass pieces do not fit into the practical category but, rather, are pure art. I love knowing that people have purchased my work just because they “have to have it” and not because they need it.

I.T. Aaaah, glass. We who work in glass often refer to making a sacrifice to the kiln gods because bringing glass to a molten state and back again can definitely keep you on your toes. The basic process involves using glass in a variety of shapes, sizes and colors—and then introducing heat in a kiln up to 2000º F to fuse the many layers of glass together. Different degrees of heat will result in different textures. The heating and cooling (“annealing”) process can be anywhere from a few hours to a few days. The pieces you see here took me an average of 20 hours to create.

I use sheet glass and cut it or break it into shapes and sizes that I need to create my design. I’ve done everything from hitting the glass with a hammer, dropping it on the floor, and putting it in a garbage disposal to achieve the look I’m seeking.

I have found that using powdered glass for detail and design and using “painting with light” techniques have really expanded the possibilities of creating depth and surface texture in my work. I also use other accessory glasses like stringers—fine strands of glass that can be manipulated in a torch to create more design elements. Additionally, I use metals that are compatible with the glasses, as well as micas and other natural elements.

After the glass is cool, I put it back in the kiln to change the shape of the fused glass. This is when I use a process called “slumping,” where you bring the glass to a temperature that permits the glass to move but not so hot that it reaches a molten state. The process of firing glass is very technical, but no one should feel intimidated. Everyone can learn the techniques and the process and reap the rewards of this fascinating medium with its endless possibilities.

H.G. Are you actively marketing your work?

I.T. I do juried shows and also show in galleries. Twice yearly, friends have private shows for my work. Fortunately, many of my clients are repeat customers and purchase pieces for their homes or for gifts on frequent occasions. I also do commissions. Like most artists, I don’t like the “selling process” and, while I know I should get out and market my work more, I seldom do it.

H.G. What is your studio like?

I.T. I work at home, as do many artists I know. In the beginning, I was happy to use part of the kitchen as a studio. I am now fortunate to have three kilns of varying sizes, large worktables, and a good inventory of glass. But, no one should be afraid to start small—perhaps with a jewelry-size kiln and by taking a course at a local college or asking a local artist if they would use them as an assistant or provide private classes to them.

H.G. How has life affected your art and art affected your life?

I.T. As I explained when I was talking about my inspirations, my travels have greatly influenced my art. And, it is exciting to take small pieces of my art with me on my travels to share with new friends. In that way, art definitely influences my interactions. I know that my involvement with art and the successes that I’ve achieved have helped me expand my life while at the same time keeping me balanced—both so necessary with the many roles I play. But most important is that when I am creating, and even just when I’m in my studio, it is such a spiritual and rewarding experience.

H.G. Explain how art has expanded your life.

I.T. Because of art, I see more when I’m going about my daily activities and certainly when I’m traveling. It helps me look at colors and scenes in a different, more intense way. I am also fortunate to have a talent to share. I donate time at my daughter’s school—a visual and performing arts school in Vista, Calif. The kids can see results quickly when they work with fused glass and are always surprised with what they can achieve. Both of my children and my husband have created nice pieces. I love being able to share this experience—this love—with them.

Harriet Gamble is a free-lance writer from Indianapolis, Indiana.