Flameworking has become an essential part of our art. Four of our current commissions will require thousands of pieces, which we will make one at a time by hand. When we have time, which is becoming rare, we build our inventory. When visiting our suppliers, I buy stained glass sheets to work specifically over a flame. First, we cut the sheets into eighteen-inch sections and then into 1/4″ to 3/8″ strips. We group them into canning jars and place them on shelves above our torches. I’m a big believer in displaying our supplies and tools. Living with them creates

I created this window of Kew roses for a couple in Southwest Virginia around 2019. Made of many small pieces, we create from a 1/4-inch strip of stained glass over a flame. It wasn’t easy to hold such tiny pieces while the UV adhesive cured under intense light.My son Daniel was working with us then and came up with the idea of positioning them in Play-Doh to hold them in place for gluing and then attaching them to the background glass.

I believe this window represents the perfect evolution of the creative process. When I work, I focus on every move I make, trying to refine my craftsmanship and critical eye for color. It becomes a balancing act of moving swiftly to bring a fresh, natural look to the piece while meeting the demands of construction. These aren’t necessarily opposingforces; they take time to learn to work together. And that’s what I like. The more thought I put into a project, the better it becomes, and each project after it.

This is an example of the framework I build as a “canvas” for my flame-worked windows. After I assemble the basic window with zinc, sculpt the branches with solder, and attach wires to give my window a three-dimensional look, all the metals receive a copper sulfate wash to darken them. Creating this contrast is the first step in bringing my art alive. I often think of it as a winter scene. Along the way, we have been flame-working to create the leaves for not only this project but several others. On the days I get to compose my composition

One of my first commissions with flame-working was a window for a home near Chicago. I have become comfortable working with people who live long distances and have never visited or met. Communication is quick and easy with text, emails, and a camera in almost everyone’s pocket. Samples sent through the mail and emailed sketches are efficient and leave a communication record that acts as a contract between two parties, especially after paying a deposit. Most clients come to me with a design concept and color preferences. They often facilitate a connection with the individual responsible for installing my