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My artistic senses were reawakened in 2001 while commisioning 5 different glass artists to work on various pieces for my collection of powder room bath vanities that became known as Radial Fusion. The artists were having so much fun working the glass, the glass seemed so alive.
I had gone to several art schools right out of high school. I realized back then that art schools could assist a poor starving artist in his artwork or help a person become an art teacher. Neither prospect was very exciting to me. I started my family when only 20 which meant to me that I had more "serious" work to do, provide a living for us. I was very interested in cabinetmaking and choose to pursue this as a living rather than fine art. Cabinetmaking, though Pacific Design Inc has been very rewarding. With lots of help thru the years, Pacific Design has become a major name in high-end custom cabinets in the Pacific Northwest and in Oahu. After my introduction to custom fused glass in 2001 I stated incorporating custom glass by local artists into some of our cabinet projects.
In 2002 I took basic glass working classes from Bullseye Glass in Portland, Oregon. Classes are held at the factory, which is the epicenter for fused glass in the world. It was due to the work of the the founders of Bullseye Glass that studio fused glass came about. I am priviledged to count one of those founders, Ray Algren of Fireart Studios, as a friend and mentor. A cople of classes given by Roger Thomas in late 2002 early 2003 really got my juices flowing. I had already begun my experimenting with creating with custom colored frit at the time I took Roger's classes. He introduced my to Kathleen Sheard, internationally recognized wildlife glass artist, who has also become a friend and mentor.
I set up our hobby room as a glass studio equiped with a kiln, cutting tables and lots of room (or so I thought) for my custom color blends. I started by making small quantities of frit in the custom colors but soon discovered that I would need more. I purchased a glass crusher built by John Groth so that I could more easily crush the glass sheets I made into frit. I stated making art panels using my blends, specifically focusing on sunflowers. I heard about a contest that Bullseye Glass was conducting called "emerge", that is specifically geared towards promoting young (in glass) artists. I decided to enter some work and as the December 31st 2003 deadline was rapidly approching I worked practically non-stop. Glass work takes on it's own tempo as the work in the kiln will require many hours to fire and cool. I entered several pieces in the contest and was notified 4 months later that I was not a finalist. I was very disappointed but consoled myself with the fact that I was "very" young in glass.
I took several years off from glass, got into road bicycle riding in a very big way. Eventually worked my way up to riding a "century", 100 miles, around Lake Tahoe. I rode for 3 years with "Team in Training" a charity organization of the Leukemia and Lymphoma Society. It was very gratifying to raise funds for such a worthy cause, a big thank you to all of my supporters, who donoted over $41,000 thru me in those 3 years. In 2007 I determined early in the year that I wanted to really ride. I had a new custom built bike that fit my 6'4" frame. In March, on a "business" trip to Honolulu, I rode my first solo century, with support from my wife, Colleen. I had trained all thru the winter and was ready to ride. But I was not ready for the tropical heat, that even in March, was already in Hawaii. I did ok, poured water over my head, with helmut on and did 102 miles in 8 hours. Pretty long day in the saddle. Back home I found an organized ride in April and rode another century. I was on to something here. I determined to ride a century per month as long as I could last. To make a long story shorter, I rode a century every month thru October, when i finally burned out big time. I felt I really did something, 8 centuries in 8 months.
My thoughts returned to glass. Again I heard about Bullsyeye's contest and decided that this would be good motivation. Back to the studio where I set up a couple of fruit still lifes, took pictures, and used them as models for glasswork. This time I really felt I had a handle one my technique of "frit" painting, being able to create what I had in my mind's eye. I worked small this time, 6" x 8" or so. When I previously worked, I worked large, as in 20" x 20". Takes a lot of glass to do that. By working smaller I could concentrate on creating the effect that I wanted. The "Pear Study" was the first, the Banana Study then I created "Pepper Still Life" then "Sunrise Landscape". It was working, it was exciting. At last the end result was what I had wanted for a long time. Maybe that 2 years off was a good thing. I entered 3 pieces in the contest and then anxiously waited 2 months for the results. A Finalist!! One of only 40 from around the world, only 20 which came from the U.S. How exciting! I delivered "Pear Study" to the Bullseye Gallery to be placed on the wall with the other finalists and then judged by a panel. Sometime in May of 2008 they had the grand opening of the exhibit of finalists. I didn't win but I did win in a way. I achieved confirmation on what I was doing was worthwhile. This was encouagement that was needed. In September of 2008 I met a very nice couple who collects art. They purchased all 3 pieces and have asked for more. How exciting!
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