This piece almost didn’t make it. I dropped it on the floor twice while dancing with it to get motion into the material. I actually needed help from my teammates Jonas Ionnaou and Tone Linghult to regain control of the piece. It was an extremely exciting moment. Also, frustrating because I knew what I had done wrong. I miscalculated the amount of material I needed. I gathered too much glass. The piece became too heavy for me, and when I heated the piece to the temperature it needed to be for me move with it, to create its longer organic form, I lost control. The piece literally sat on the floor for at least 10 seconds.
“Gathering” is a glassblowing term and it is when you spin the material up onto the blow pipe or stainless-steel rod which the material is connected to while working with it. I have heard glassblowers compare the process to that of gathering honey out of a jar. The material is almost the same consistency as honey when it is at 1100 degrees Celsius. Now that I think about glassblowing more and more I can see the magic of it. Earlier I was in constant contact with it, just trying to learn as much as possible about it, so much so that I didn’t see the magic. I was too “in it”. Now I can step back a little, and really see how special the material is, and how amazing it is that we figured out a way to work with such an awe-inspiring and difficult material.
I love this piece because of its form, the curve it makes and the lower pedestal I chose for it. It feels balanced and yet not at the same time. The way it leans and almost seems as though it will fall backward. I love it when my work produces a sense of unease. An “on the edge” feeling. I also LOVE the light patterns this piece creates. It is almost electrified when light passes through it.