Working with glass is about working with light and colour. Unlike many other media, working in stained glass does not allow the artist to blend and mix colours the way a painter or a glassblower might. Therefore, as an artisan, I look for new ways to bridge the gap between the light and colour of the stained glass medium and rigidity of its technique.
I began working with glass in 2001 and quickly tired of using unimaginative, commercial patterns in my work. Since then, my work has branched into two directions, the first using glass to build original, three-dimensional pieces and the second, to incorporate fibre, paper and metal into traditional stained glass techniques.
My three-dimensional pieces in particular reflect a desire to encourage people to touch and interact with glass. Often, people are afraid of the fragility of glass. Regardless of the functional or decorative purpose of a piece, I try to create situations where people want to touch my work.
In 2005, I began to incorporate other materials, including fibre, paper and metal into my stained glass. By inserting different materials between two “plated” or layered pieces of glass, I have both created an additional sense of depth to my glass and added a sense of movement and flexibility into a very rigid medium. In some cases, I have used this technique to enliven a functional piece; in others, incorporating these materials simply adds to a decorative work.
The Cowichan Valley Regional District is a broad geographic region stretching from the Malahat to North Oyster and from the Cowichan Lake to Thetis Island.
The region's artists are represented by 5 sub-regional arts councils with support from the CVRD Arts and Culture Division