I was saddened to hear that Dan Fenton passed away recently. He was one of several Northern California glass artists that took a fresh approach to stained glass during the 1970s (see Otto Rigan’s ‘New Glass’)
While I didn’t know Dan well, he was always generous with his extensive knowledge and was enthusiastic to answer a technical question or to steer me in the right direction. His invaluable manual on kiln work has been central to all of the hot glass experiments we’ve done here in the workshop. His contribution to the craft, one-of-a-kind spirit and depth of knowledge will be missed. My deepest sympathies go out to his partner Patty O’Doherty.
One of the benefits of starting by business in Oakland was having an example of Greene & Greene’s architecture next door in Berkeley. The Thorson House features a lot of the fine detailing found in the larger residences they built in Pasadena and has provided a lot of inspiration for my work over the years. The Friends of the Thorson House are working to raise restoration funds and just posted their new website today! Take a look here.
I contributed to a series of articles in the Journal of the American Art Pottery Association written by Richard D. Mohr, Professor Emeritus of Philosophy at University of Illinois and author of numerous articles on art and architecture for Architectural Record, Art Issues and Style 1900. This is essential reading for fans of Prairie School tile and mosaic. It spans 3 issues: fall 2011, winter 2012 and spring 2012. Get the back issues here.
Thanks to Arts and Crafts Homes Magazine for this tribute to the work of Artistic License members! Debey Zito, Audel Davis and I collaborated on the hanging lantern. Read more here.
I awoke this morning to an NPR report about efforts to restore and reopen a large Children’s Hospital in Durban, South Africa. The correspondent commented on leaded glass windows installed at child height and being an stained glass obsessive, I went on a hunt to see what these would look like. What I found was sorta creepy.
You can barely see the windows on the edges of this photograph. Looks like they tied in with the painted frieze depicting story book scenes.
The seaside building features generous fenestration to allow ample light and fresh air. Throughout, decorative features such as ceramics and stained glass were created by two artists names Mary Steinbank and Wilgeford Vann-Hall between 1926 and 1930. Read more here.
I’m taking a tiny step toward diversification with my new workshop apron. It’s something I’ve been thinking about for years; making a better design based on the short comings of the dozens I’ve gone through over the years.
It’s available at a special event put on by my friends over at deep craft and the wowhaus.