Flowers accompany our rites of passage and carry deep symbolic meaning: they are collections of individual gestures, an expression multiplied, a gathering for remembrance.
The design I used borrow from traditional Italian millefiori, or thousand-flower technique; yet employ a more contemporary style. For me, combining millefiori is a metaphor, like a garden, about multiple worlds coming together to form a larger, more intricate world that is intricate, yet complete and serene. This world embraces the fragile and the lovely.
I have always loved Coleridge’s ideas around organic unity. An important element in this work is color, which I use as an expressive element. the radiance of glass illuminates color in a way that I was never able to capture before as a painter or a textile designer. In glass, I have found a material that helps me convey the vivid richness I feel is central to my artistic and spiritual life.
I am indebted to the teachings of many great color theorists, but particularly Josef Albers. I work with a wide array of research and source material, including living plants. I think of myself as something of a late bloomer, even harmlessly rebellious. I have made a life doing things my own way and so I feel a kindred spirit to some renegade artists of the past such as the Dutch flower painters of the 17 Century, the Pre-Raphaelites, the painters of the Vienna Secession, the Bloomsbury group.