Inside the Soursilicate Flame: 20 Years of Fume, Pattern, and Borosilicate

I’m a lampworker and flameworker originally from upstate New York, near the Catskill Mountains—the legendary home of the Headless Horseman and Rip Van Winkle. Glass was always part of my world. As a child, I was fascinated by my grandmother’s collection of glass paperweights, trips to Corning to watch glassmakers at work, and the artists I’d see at the local mall creating intricate figurines and small glass objects.

Later, while attending Grateful Dead concerts, I encountered another side of the glass world. I was captivated by the work of artists such as Bob Snodgrass, Cameron Tower, Dank K, Chemdog-Glass, Travis Wigger, and Hugh Salkind. Their work completely changed the way I saw glass and opened my eyes to its possibilities as both an art form and a craft.

My own journey into the flame began on New Year’s Eve 2000. After seeing an Areolux glass light bulb with a bouquet of flowers inside illuminate an entire room, I knew I wanted to learn how it was made. That moment marked the beginning of my glassmaking journey.

In 2000, I was fortunate enough to attend a GAS (Glass Art Society) conference, where I met Paul Stankard. His extraordinary attention to detail and mastery of glass left a lasting impression on me. From there, I spent years learning through friends, books, magazines, videos, and hands-on experimentation. I later studied with Lewis Wilson at the Bead Expo in Las Vegas and, after moving from California to Oregon, continued my education at Eugene Glass School and the University of Oregon.

Throughout my career, I’ve had the opportunity to take workshops with many artists whose work has influenced my own, including Bob Snodgrass, Mark Lammi, David Willis, Manuel Azumeca, Jason Lee, Marcel, Roger Parramore, and Cesare Toffolo. Time spent at Pilchuck Glass School has also been an important part of my continued development as an artist.

My work incorporates line work, montage, incalmo, and pattern-making, while I’m equally drawn to the simplicity and possibilities of clear glass. I’ve always been a visual person, and my inspiration comes from many places—including expansive vistas, optical illusions, anime, science fiction, and the endless visual possibilities found within glass itself.

I enjoy creating a wide range of objects, including ornaments, cups, marbles, beads, pipes, jars, and other functional and sculptural pieces. Much of my process begins with making my own tubing, incorporating fumed silver and gold lines or solid-color patterns made from borosilicate color rods and encased in clear borosilicate. I then break the tubing down into sections and reconstruct those elements to create new forms and patterns. This process allows me to build intricate designs from the inside out, combining precision, color, and movement.

After more than two decades of working with glass, I’m still fascinated by what can happen when heat, gravity, color, and imagination meet at the torch. My goal is to continue pushing my work forward, exploring new techniques and ideas, and eventually share what I’ve learned by teaching future generations of flameworkers. For me, keeping the tradition alive is as important as continuing to discover where it can go next.

In 2000

I’m continually experimenting with new ways to create depth, pattern, and optical effects in borosilicate glass. I make much of my own patterned tubing using color, clear glass, and fumed silver and gold, then break it down and reconstruct it into new forms.

I’m always pushing these techniques in new directions, experimenting with layering, movement, and visual illusions. For me, innovation comes from being willing to experiment at the torch and see where the glass takes me.

I’m really Just trying to make good clean work inspired by the many teachers I’ve been fortunate to learn from.

Staying true to line and form and traditional objects like ornaments, marbles,vessels.

I like making pipes because people can use them in their daily lives as art they can live with.

I  think the future is bright and it’s important to have a good foundation and understanding of art history and glass techniques to be able to bring your ideas forward. Finding a supportive community and mentors helps as well

One of the fun things about my work is that a lot of what you see on the outside actually starts from the inside. I make much of my own tubing, creating patterns and lines from borosilicate color, silver, and gold, then breaking that tubing down and rebuilding it into new forms. It’s a little like making a glass puzzle where I don’t always know exactly what the final picture will look like until it comes together.

I’m always experimenting with ways to push pattern, color, and optical effects further. I especially enjoy working with clear glass because it gives me so much room to play with depth, reflections, layering, and visual illusions.

Right now, I’m continuing to explore new patterns and forms while revisiting some techniques I’ve picked up from artists and mentors throughout my journey. I’m also making a variety of ornaments, marbles, cups, jars, and other pieces that let me experiment without being tied to one particular style or form.

After more than 20 years at the torch, one of my favorite things about glass is that there is always something new to learn. I can spend hours making something and still find myself surprised by what happens when the glass comes out of the kiln. That element of discovery is a big part of what keeps me coming back to the torch.