Cynthia Morgan (Morganica) discusses how she makes small glass sculpture for pendants, brooches, tiny vessels, and bracelets, and her journey learning to integrate her glass art with new skills she’s developing in metal clay (PMC/EZ960/base metal clay/etc), precious and semi-precious stones, and enameling. This section includes tutorials, musings, business and marketing strategies, admired artists, the pitfalls and perils of learning new artforms, and some new examples of her work. It includes making, carving, and layering metal clay, setting stones into metal clay, enamelwork on copper and silver metal clay, and engineering mounts and settings for pate de verre jewelry pieces.
Q: Is there a better (faster, cheaper) way to coldwork small glass sculptures? A: Yep A BeCon or two ago, Richard Whiteley, head of the Canberra glass school, said that glasswork fresh from the kiln was only half finished; coldwork was necessary to take it the rest of the way. Ouch. I happen to agree with him, but as much as I love HAVING coldworked, I hate DOING coldwork and seem to be on a neverending quest to avoid it. Right now I'm testing a bunch of machines to see if they can automate the finishing process for small cast glass sculptures, like pendants.
"Hi, Cynthia!" Andrew calls gaily, as he pounds up my driveway, "Can I come in? Wow, cool!" He gazes around my studio with wide eyes, taking in the art hung on the walls, the pendants pinned to the black velvet drape suspended from Oliver Wendell Kiln's gantry, and me, covered in plaster, making a mold. "Grandpa said you were doing some kind of art show and I wanted to see."