Glass blowing is a very old art form, dating back over 3,000 years. At first the heated glass was just formed around other objects to make bowls. The Romans (of course) figured out how to blow glass around 50 B.C. and artisans during the Renaissance period perfected it. The same technique is used today. In fact, not much has changed or improved since then.
When it comes to Prairie Style design, everyone always talks about Falling Water House, which is an amazing piece of architectural history that inspires to this day. Or, they discuss the fascinating tours in Oak Park, Illinois showcasing the plethora of Frank Lloyd Wright’s masterpieces. They are stunning examples of the architectural legend’s influential style. In fact, he designed structures throughout the world, including right in the desert of Arizona.
The technical definition of a design charrette is a workshop designed to be an intensive hands-on session to explore design options. When I studied architecture at Lawrence Tech, design charrettes were meant to give student’s some dedicated time to work on their projects. Every Friday for three hours we would pile around a large conference table and sketch out ideas, thoughts and notes
Read more about Most Embarassing Moment: Design Charrette 
Quick. Name the largest museum collections in the United States. It’s tough to think on your feet like that. You probably had the Smithsonian on your list. Maybe the Metropolitan Museum of Art in New York, the Chicago Art Institute or even the Philadelphia Museum of Art. But, you probably did not put the D.I.A. on your list.
Read more about Pop Quiz | Name That Museum
Gerri Sayler's "Nascent," an ethereal, light-filled installation at Suyama Space on Second Avenue, instills a sense of hushed tranquility. Made entirely from hot glue, it features more than 2,000 long snowflake-like filaments that hang down from the ceiling. Some are shorter, some longer, with the differences forming inverted hills and valleys reminiscent of the Idaho landscape of the artist's home. Viewers can walk around under the filaments, creating an interactive environment that animates the senses and skews perception. Read more about Gotta love installation art
School starts in a little over a week, and I'm packing to move. Time for a major purge. I'm getting rid of all my "bad karma" art projects - things that I either never liked, didn't finish, or that broke somewhere along the way.
Getting rid of them is a huge relief, actually. Frees up my energy to make new things rather than worry about what to do with all the old things.
I made this bronze mask a few years ago in foundry class at another school. I can't even say why I don't like it, but I don't. I never even photographed it until a few minutes ago. However, I think it will make a nice garden ornament for my friend Jacque. It will be interesting to see how its patina changes from being out in the weather. Read more about Aborted art projects
Sometimes mistakes have to be repeated before a lesson is learned. I finally got it, though. When it comes to paid studio time, have everything ready before you go in. Well, duh.
This photo shows one of my newer pieces, "Beyond the Pale." (More about the meaning of that in a minute.) This is what it looked like before I put encaustic on it and added the texturing. (Finished pics below.) This piece is also a great example of how well it works out to have everything ready when you enter the studio. I had a great day at Northwest Encaustic that day, and walked away with a "magical" piece. Read more about Preparation is key
Sometimes art just looks too safe, too commercial. I think that's the case with my new piece, "On the Farm," although it does look better in person.
"On the Farm" is partly a result of lack of preparation, and partly my wanting to experiment with different colors (sand/light blue) and textures (garlic bulb ends). It's also another attempt to successfully use a beautiful old photo of my ancestors in front of their sod house in Kansas. This unusual photo was taken in the late 1800s and is very soulful. I've tried using it several times but have been unable to really capture its essence. The second photo (below) shows it close up. Read more about Better edgy than safe
Someone asked me recently why I want to go to art school. Why not just take nonaccredited classes and workshops? There are benefits to both approaches, however.
I've been taking classes at Northwest Encaustic in West Seattle lately, and I love it there. The cost is very reasonable. I can make encaustic paintings or do encaustic sculpture. I can even go there on weekends and work all day in the studio for just $45 a day! Paints are included, and the studio is very organized and stocked with every tool imaginable. Read more about Nonaccredited versus accredited
Should art enlighten - or look good over the Barcalounger? Or both?
Generally I tend to believe art should take the high road - that it should express something ineffable, something profound. But sometimes that's just too much of a strain. Sometimes I just want to make something beautiful or interesting.
My new red triptych that I made this past weekend at Northwest Encaustic sort of crossed over from an attempt to do something semi-profound to something that might look good over a Barcalounger. If I had a Barcalounger, that is - which I don't. Read more about Art madonna or art whore