I created this fire screen around 1998 for a home in Richmond, Virginia. This couple had an Art Deco room full of beautiful objects. I’m fond of Art Deco’s lovely lines, textures, and colors. It’s a nice change from so much of my work influenced by Art Nouveau. I used 1/4 inch clear glass, and brass came. Beveling glass this size requires an enormous amount of skill and strength. I could never bevel glass this size today. I have always admired large mirrors behind bars. Some are twelve feet long by four feet high and have a 1 3/4″

I created this window as a shower door for a home in Richmond, Virginia, around 1994. The idea was that one was showering beside a slight waterfall, with the water cascading around boulders before finding its way through a series of small pools. I constructed the window using zinc for strength and packed putty under the cames for strength and watertightness

I created this window for a beautiful Richmond, Virginia, home around 2005. Always searching for new design possibilities for my beveling techniques, I decided to design this window to follow the lines of the home’s architecture. The owner requested that the window provide a certain level of privacy, so I glue-chipped and beveled clear 1/4-inch glass for the background and beveled 3/8″ glass for the accents. This window was on the second floor along a hallway leading to some bedrooms. As one climbed the stairs and turned the corner, it came alive as a jewel in the semi-dark area.

Around 1985, I was asked if I would like to make two curved bevel glass panels for a custom cabinet in Richmond, Virginia. Taking on a new process is always a challenge. If I were fortunate, I may break even. At best, I figured someone was paying for me to learn. I would first need to curve the 3/16 clear glass in my old pottery kiln. This was before electronic controls. I used a small ceramic strip between a three-prong switch that triggered when the heat melted the ceramic strip. I then made a stainless steel jig with the

I created this window around 1990 for neighbors who liked me and my work. I beveled the glass on my 1915 Henry Lang machinery. Holding these small pieces against the force of a 30-inch iron and stone wheels turning at 200 rpm is one reason I have strong craftsman’s hands. Curved fingers also developed as I held the glass against the force of turning wheels. The background is blown glass from Germany. I wanted to separate the bevels from the background. It’s hard to see here, but the soft striations of the blown glass were a nice contrast to

Around 1996, I made the beveled glass door and transom for a couple in the Church Hill area of Richmond, Virginia. If you look closely, the bevel widens from the center to the borders, creating a variable bevel. I used 3/8-inch glass instead of the traditional 1/4-inch to match the heavy historical door and molding. There are places in Richmond where one can find beveling on 3/8-inch glass, but I have never seen variable bevels before. I’m sure I didn’t charge them extra for all the time that went into this project, but I chalked it up as a

I created these two side lights for the home of a White Hall, Virginia, couple who owned a beautiful vineyard in the foothills of the Blue Ridge Mountains. Another beveling technique I developed around that time was to bevel steep, short bevels to give the illusion of ice on vines. As one moves around the room, some bevels begin to reflect light while others fade away. I consider this style to be my kinetic art. All of the pieces of glass are held together by solder sculpturing the vines. I darkened the solder with copper sulfate to bring out