"After making some milestones with color, we began layering metal and mineral inclusions over the enamel layer -- at first, as a way of extending the palette. We tried to put anything we could think of between two layers of glass to see what might happen. The layering of inclusions became integral to the process, adding interesting reactions to the mix, as well as new textures, dimension, and light-reflecting properties."
"The process became a kind of mixed media collage, with glass as canvas, the kiln as vessel, and heat as maker of worlds. There is a pleasure in flirting with the unexpected -- layering the glass with just enough complexity as to guarantee some kind of surprise when the pieces are fired together and the heat awakens so many seemingly dead materials, and they converse together, the minerals and metals and glaze oxides and the glass itself, and their particular epiphany is preserved beneath the cooling vitreous surface."
"From this hodge-podge of materials and accumulated trial-and-error, we finally emerged with what we'd hoped would evolve out of so many experiments: a glass canvas."
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