Vessels and Castings

In the 1970s, I immersed myself in the world of glass blowing and casting, experimenting with a range of styles from organic, expressive forms to intricately decorated surfaces. A significant influence during this period was the German artist Erwin Eisch, whose work I first encountered while studying with Professor Littleton at the University of Wisconsin. I was drawn to the expressive quality of Eisch's art and sought to channel that style in my creations.
At the time, I wasn't particularly attracted to the transparency of glass; instead, I focused on blowing pieces from milk glass and black glass. My casting work evolved from my previous experiences with clay. In the late 1960s, I created politically charged clay sculptures that reflected my opposition to the Vietnam War.
In May 1970, during anti-war demonstrations at Kent State University—where I was teaching—Ohio National Guardsmen shot and killed four students. I was on campus that day and heard the shots. This tragic event deeply impacted my work, leading to a series of glass castings that began as a personal response and later expanded into broader artistic themes.
Most of my castings carried metaphorical significance. At that time, I was pioneering glass casting techniques, as few, if any, were doing similar work. I adapted my knowledge of bronze mold-making to develop my casting process. In the mid-1980s, I became inspired by the works of Stanislav Libensky and Jaroslava Brychtova, and I had the privilege of working with them at Pilchuck and later in their studio in the Czech Republic.
Some of these pieces are still in my collection and available for sale. If you're interested, please visit my contact page to get in touch.