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Glass exists as an amorphous solid—fluid yet resilient, always in flux.
As I shape glass, the material shapes my body.
In the hot shop, a process unfolds as an intimate dialogue where the labor of shaping glass becomes a transformative exchange between body and medium.
Engaging with this molten material makes me more aware of my breath and body. My breath expands the glass during this molten window of time - it is as though I am breathing life into the material - while using heat and time determines the placement and outcome of the bubble’s shape.
The act of shaping glass is deeply tied to my breath.
Each exhalation expands the molten form, as though breathing life into the material itself. This exchange heightens my awareness of the body’s role in creation, as physiology directly influences the outcome.
The bench serves as a site of convergence, where body and tools coexist in the labor of making. Tools - jacks, tweezers, diamond shears, scissors, and paper - are arranged at arm’s reach, ready to extend my gestures into the material. In this intimate setting, I confront the ever-evolving nature of glass, forging a relationship that is as much about shaping as it is about being shaped.
My teaching is an extension of my studio practicecentered on experimentation, embodiment, and the dynamic relationship between material and maker. At the Rhode Island School of Design, I designed and led experimental studio coursethe intimate choreography between glass and the human body.
Students investigated ideas of trace, absence, presence, and transformation through physical engagement and collaborative making. We approached tools as extensions of the body, and glass as a material language - shaped not just by heat and gravity, but by gesture, intuition, and rhythm.
Teaching is a space of exchange. Together, we explored the possibilities of glass not only as craft, but as a way to externalize the internal, to make the invisible visible, and to connect process with poetics.
Selected Student Work
