The only mirror of truth is the one residing in you: keep it clean and you will know and see clearly…
It’s hard to believe that I began teaching seven years ago. After a serious shoulder injury in 2007 that my doctor explained would take me out of my studio practice for a year, and then a divorce a year and a half later, my tempo had slowed enough for me to pursue teaching. It’s been a wonderful experience. I am now at a place where I will be returning to my production work again. It is interesting to note how when I talk to my colleagues in the industry and my absence from it, they all say that if there was a time for me to be out of my production work, this was the time.
The market for handmade has been completely transformed. Galleries closed, shows that were a mainstay went away as inline selling has gone through continual gyrations as the market continues to change.
In the midst of this change, it seemed good idea to consider a re-branding of my glass business. So far, this is the new logo I have been working on.
Art is the only lie I have ever enjoyed getting away with.
I clean a lot of glass in my work, and whether it’s my blown glass that I’m getting spotless for a show, event, or customer, or whether it’s getting the shelves on which the work is to be displayed, getting glass clean has become both science and art. I thought I’d pass along a few tips for cleaning glass that I have found indispensable.
First, forget glass cleaners. That’s right, forget them. I’m sorry to say that while the rest of the world is using Windex glass cleaner, I have long since given up on this product for a far superior product that is more effective and, gasp! Cheaper!
Glass cleaners do clean glass. The problem with cleaners like Windex is that they contain polish and this always leaves a film behind. If you want a cleaner that gets right to it and leaves no residue, buy a gallon of distilled white vinegar. It cuts grease and dirt and leaves no residue once all dirt and grease are dissolved. The nice thing is that vinegar is an excellent degreaser and I have been using it exclusively as a cleaner for my glass as well as my kitchen counter tops and surfaces. The advantage here is that there are no more chemicals or dyes and the cleaner is as hypoallergenic as you can get.
Remember to get distilled white vinegar since this has no residue from the fruits used to make it (like Apple cider vinegar has).
A Magic Material
Next on the list is not even a cleaner per se, but a material that cuts down significantly on your use of vinegar in the first place. This wonder is called a microfiber cloth.
Microfiber came into vogue over a decade ago, and once I was given one by an exhibitor with whom I shared some technical information with (as a kind thank-you), I became a believer in its ability to spit-shine my glass…..without the spit! If you haven’t used microfiber yet, you should, because it can greatly reduce the need to use ANY cleaning fluids on mildly mussed glass.
The fibers pick up dirt extremely well and lock the dirt in the fibers. Just remember to give your cloths a good cleaning with mild soap and a vinegar rinse every so often. It is good for dozens of cleanings of window panes, metal objects, or just about anything shiny (do be careful with plastics, love, as they can be mildly abrasive to them). Just bear in mind, microfiber will work only on dirt films on glass and is not designed to sop up big spills. For that, I offer the towel, be it paper or terry cloth.
If you bring these two simple ingredients into your arsenal of cleaning, you will find your world cleaner without the need of the expense of the vast cornucopia of chemistry now under your kitchen sink.
I hope that you have had a marvelous holiday, and if things are in need of a little cleaning, I hope you will give my suggestions a try. My work here is done. Godspeed and good morrow, my dear glass enthusiasts!
I was on my last few hours of my open studio event recently, when in walks a woman who begins to tell me a story about how her father had gotten funding to study the presence of a naturally occurring form of glass in the desert of Libya in the ’50’s.
I was hooked because….well….chemistry, that’s why. And….glass of course!
You see, naturally occurring glass is rare because most often the glass is close to being pure silica simply because sand beds where the glass is formed is made up of almost exclusively silica. When you make a glass so pure as 90%+ a silica, it takes extraordinary temperatures to get the silica to go into a glass phase. It is why we humans have added things to silica to coax it down from the high temperatures required to melt it. Simply put, we use fluxes to achieve a lower melt temperature
But the temperatures! My God!
To melt pure silica you need temperatures in excess of 3100° Fahrenheit. It’s hotter than even the best constructed open air fire could hope to reach on earth.
Without going into great detail, the types of magmas found coming up out of the earth have temperature ranges that depend on their mineral content. High silica magma, like the glass found in Libya, is recorded with a high mean temperature of 1472° Farenenheit. This is called Felsic magma and it’s lower temperatures are due to how magma, we believe, is formed in the earth, which is that iron is melted first, and then flows up through cracks and fissures in the earth into what we know to be volcanos and volcanic vents. As a result of this, sand, which we think lies at layers higher up, only tends to get a lesser heating effect so that it’s average temperature is lower than iron rich magma, whose temperatures are much higher.
Comparing the melting point of silica and it’s average melt temperature through natural means yields us a very broad temperature disparity. What gives? How on earth could this glass have been formed here so close to the surface of the earth where so much of this material has been found?
First, you should know that glass (or silica) does not have a discreet melting temperature. Instead, it has what we call a melting range. It’s not unlike how honey will change viscosity from thick to thin all depending on the temperature that is affecting it. So while silica forms a perfect union all on its own of a glass we call quartz glass (nearly pure silica) at 3100° F. it begins to go into a glass phase at lower temperatures. At 14-1500° F. silica is glass-like, but it’s also very much sand-like, too. You would look at it and tell that its a very crude form of glass (very unlike the glass found in Libya).
The question on everyone’s mind has been, how did this Libyan desert glass form to begin with?
The Comet Theory
First, there are a lot of theories. One theory is that the silica was heated in our atmosphere as a result of a comet that fell to earth millions of years ago. This, the theory goes, was what created the extraordinary heat necessary to melt the silica.
But there are problems with this theory. A body falling to earth only takes a few minutes to go from our upper atmosphere to the surface of the earth, which may not be nearly enough time to heat up a comet and fuse the quartz into the glass that has been discovered on the desert floor. To make glass like what my visitorsfather studied in the ’50’s, you need enough time to really get the melt right. A meteor can enter our upper atmosphere and fall to earth within 15 minutes time (or less). Hardly enough time to get the silica cooking deep down in a comet.
The Volcano Theory
Another theory is that the silica was heated by volcanic means. Normally, however, we wind up seeing either basalt glasses, or very crude lower temperature glasses of the kind I described earlier. The Libyan glass is different from both of these kinds of volcanic glasses.
So as a result, researchers who have been studying this for a while now have looked at the region and have offered a new theory.
The Sol-gel Theory
When researchers began to study the geology of this area they found evidence of ancient volcanic activity. in fact in what they considered to be the bullseye of where most of the glass is found they also found a corresponding evidence of ancient volcanic activity in exactly the same area. Normally volcanic activity is not enough to melt silica into the type of glass that we find in the Libyan Desert glass.
There is a process however where silica can be heated over and over many times in order to create glass from silica. Researchers posit that the glass was made through a process called sol-gel which consists of small silica particles that melt and then slowly form glass, a process that could take many years of repeated heating and cooling in order to form a solid glass. One example of a sol-gel that you might be familiar with are opals, which are silica based particles along with other minerals that are repeatedly heated in volcanic vents that form the gems with rainbow colors that we know so well. The reason why the Libyan glass does not look like opals is because the conditions and the substance of the silica beds were very different than the ones in Australia that produce opals (which is a sol-gel process).
This theory offers the most likely possibility for how the Libyan glass was formed. While we can never be completely sure, it seems that in this one place on earth conditions were right many millions of years ago for this unique form of glass to be created.
I’m very thankful to have had such an interesting conversation with Robin who first told me about her father’s work because it put me on the path of a great mystery that lies in the sands of the Libyan desert. And of course, since it’s about glass, it naturally piqued my interest!
SAG is on Instagram for your viewing pleasure. Here’s a few pics that you can find @staffordartglass Follow for follow.
Large companies can pour millions into new products each year, hiring experts called consultants to help direct them in their dream of new products and new directions for their businesses. In the world of the artist, this too also happens, but on a mini-micro scale. You wake up one morning and you say to yourself that an old idea that has been rolling around in your head and heart needs to be embarked on. For an artist, this means hundreds of hours of learning this new kind of work and who knows how much money poured into the effort. When it comes to something like this, there is absolutely no guarantee of any sort of return. You go by your instinct, your gut, and your wits. And you want to know something? My experience has been that many of my most compelling and interesting designs that I personally love often find only a luke-warm reception at least in the beginning. I have actually shelved what would later become one of my most popular pieces for over a year before returning to it. When it hit the shelves people looked at it like it was something from another world. That is to say, they didn’t see it as the unique thing that it was; they saw it as unrecognizable. This is sometimes the problem with the new.
Before a line of new work is even hot off the presses, it comes under no scrutiny, no flag waving crowds or lines of adoring fans. Unless you can do something that often strikes most artists as utterly distasteful: you hype the living shit out of it. You hype it so that normal people who have never bought art before sit up and take notice. They take notice because, well, they are so tuned into the hype. I am not talking about what an artist normally does to promote themselves. I am talking about what some people will do in order to bring in the crowds, people who might not have come in the first place. These people are more drawn by the interest of others, the crowd, the feeding frenzy. To do this on a large scale means celebrity or the feeling of possible celebrity. And who doesn’t love a celebrity? A quiet unknown who is rising through the ranks? Still, its hype most often, anew form of hype that doesn’t look like hype but still…it is.
The truth is, there is a very small number of people who don’t see the hype, don’t care about the hype and buy with their heart. And these people are actually the visionaries, the people there when the work was not hyped, was actually affordable, and are often of modest means. the people who come rushing for the hype are the folks who will put down $40,000.00 for the “next big thing” because, well, it looks good on them or in their house. What we are talking about is status. It is also worlds away from authentic art making (unless you create artifice in order to pander to the rich).
Artists are often caught in this odd cross-fire of authenticity meeting popularity when things take off for them. The desire to hype can get the better of some art dealers and gallery owners, and artists too. Look, we all want to prosper, but at what price does this happen? For those who “make it” there are now funds that allow a person to do so much more than wonder if they will make the bills this month or the next, whether the six thousand poured into the new line of work will yield anything of substance. The number of artists who were obscure in their time is right up there with the fervency of hype. Renoir would say how he bought his villa with a painting of an empty vase sold ten years previously. Picasso would sign checks knowing they would never be cashed because, well, his signature. It is indeed a strange world.
But look, the lifeblood of an artist isn’t the money. It is the excitement over the next new thing, the new idea, the new process, the new way of saying perennial messages that have been born into each generation and recur in slightly different ways from one century to the next. Our dreams are those of the Romans, the Greeks, the Pelleponesians, the Shakespeares, the kings and queens of Ur, all told now in a recognizable dialect. Before it is a “thing” we are there in the innocence of the moment in the studio, scribbling on napkins, sending notes to friends, or making the discovery that could change a lifetime. We were the true believers before anyone dared to even dream it. It is this piece of our lives that the beloved collector wants a piece of…the early work, albeit a little rough around the edges, but is work that suggests that there are more pieces that will follow, and if the artist is lucky enough to sell enough to fund the next round of work, they do, and the work evolves. And hopefully, the work evolves fast enough that it stays ahead of the curve so that the artist can turn enough of a profit so that s/he can make more….and survive to make for another day. This is not an easy proposition because artists have to be both lovers and shrew business people. I can tell you that it is hard to do both equally well, and as history shows us, artists tend to be lovers over the shrewd type. This is so because it takes a huge amount of passion just to get your through the 80 hour days, weeks, months, that are required to become good at something. And for an artist, this can mean remaking yourself with new techniques and ways of working every once in a while. You don’t get there with shrewdness. You don’t calculate passion or love. You simply have to have it in you as a lover. And like all great lovers, you can’t be thinking about dollar signs when you are throwing yourself into the next big thing. To do this requires a singular sense of authenticity, passion, and love. Anything else simply robs the work of the life that animates the work, that gives it that presence that is often unnoticed by the great unwashed but that the lovers of art pick up on and see. It takes a lover to know a lover, even if one does not make art and the other does.
So it is that yesterday I had this “congealing moment.” I know how that sounds, but I cannot think of a better term that feels so equal to what actually happens….The moment involved an idea I have had in my head literally for decades that involved a type of work that I have considered doing in glass. I just wasn’t completely sure how I would do it. My mind had been putting these pieces together off and on for a long time, but I just didn’t know exactly what the end result would be. It was a bit like staring at Monet’s paintings of haystacks early in the morning…..they were images that had some shapes, yes, a suggestion of form, but were largely vivid blurs in my mind. That really is how these kinds of pieces can be in our minds. I know that other artists do the same thing because I see it in my art students. They draw a quick sketch and then say, “I will “art it up” Mr. Stafford….you know, I will make it awesome!”
So really what is happening is there is something that is not completely fleshed out for the artist in their mental conception of the work that they just know they will get worked out in the final work. They just know, right? So sometimes that golden moment happens, that bit of genius that flows out into the work, and sometimes it doesn’t. Sometimes we kind of waive our hands in the air, explaining a new idea without really knowing what it will be like.
(“Insert some kind of colorful awesomeness here _____”)
It isn’t that we are fooling ourselves as artists. In fact, this sense we often have, that it will be awesome, is quite simply derring-do. It is born out of confidence in ourselves, and it is ballsy. As a result, I am loathe to be too critical of it. I was in fact in just such a place, parked with my idea for over a decade (at least) while this idea, apparently, gestated very slowly in my mind or creative spirit. And then it happened. It happened very quickly, almost too rapidly for me to even notice. If I had been too distracted, it would have been gone and I might not have even noticed it. Look, I have hundreds, thousands, of ideas a lot like this fleeting through me. It is just how it is. And most often, this happens in a state that is different form ordinary consciousness. As a result, unless you sit with the idea and hold it there, it can literally just evaporate in exactly the same way that a dream you had last night is nearly impossible to recall. Steve Jobs once described all the things he “knew” when he was on LSD that he completely forgot when he came back down to ordinary consciousness….but he knew that it was something and he wanted to add a little piece of that in his work, which he did. So, yeah.
I didn’t need LSD to get to that moment. It was all there, fleshed out in the moment clear as day. It was so complicated that I knew that in order to work it out, I would have to possibly spend months developing enough elements just in order to develop the work. These pieces depart completely from everything I have done and dip into art. How they are done is through a series of layers of imagery that are literally carved out of layers of glass at room temperature and then layered into the glass. On the one hand, I could wind up with a cheap Venetian looking “fish bowl” (you know those….they look like fish in a bowl and are made by layering all these elements in them) or I could on the other, push the idea so far that I come up with the level of complexity I am looking for, which is not unlike a multidimensional “trip” through a dream world that actually is beginning to look a lot like how complex our lives have gotten today. The trick, I know, as I waive my hands in the air, is to invest the “landscape” of these glass pieces with the level of complexity that keeps them from being cute or quaint and pushes them into new territory altogether. And that, dear reader, is the hard part of art. It separates the girls from the women and the boys from the men. Hopefully in the end it serves to unite us all in a new kind of vision. 😉
So that is what is on the plate for now. Naturally, I can’t say too much about it right now, not until I develop the work because until I do that it is much too easy for people to take an idea and run with it. And that is the other side of the coin, but I will spare you that dimension of our work as artists.
The new work will mean that I will do something unusual, which is I will need to create photographs, images, and drawings, all of which will be put down on paper to form the basis of the imagery that will be cast into place with these pieces. And to do them well will mean that the imagery remain crisp. That will mean selecting certain colors over others. There will be choices that will have to be made that will be exacting, like building a three-layered canvas made of glass that you will be able to see through. Some will seem like dreams, some like memories. Perhaps some will fill the space with a sense of life. Will they? That will be up to all of the efforts made in the studio and out of it. For now, there is a lot that needs to be done in the moment that will lead up to determining whether this work will be worth the time and trouble. These are the untold hours, the invisible hours, that go to make a new line of work what it is. And this is the life of the artist. More than money, more than anything else, this is what gets my blood pumping.