Tidal Geometry #1 explores the tension between deliberate structure and the natural movement of molten glass. Deep cobalt blue, opaque white, and restrained black flow through the vessel in broad, uninterrupted fields, forming sweeping contours that shift between fluid abstraction and almost architectural symmetry.
At opposing points in the composition, the colors tighten into concentric spirals before opening into larger waves that travel through the body of the piece. From one perspective they resemble vortices seen across water; from another, the spiraling arms and deep blue interior suggest astronomical forms. The white passages provide stark negative space, allowing the cobalt to appear suspended within the surrounding glass rather than simply applied to its surface.
Created using the distinctive process developed for the Chromatic Series, the colored glass is formed and manipulated as a continuous composition before being incorporated into the finished vessel. This preserves broad areas of uninterrupted movement and allows the boundaries between colors to stretch, curve, and migrate naturally as the glass is worked entirely by hand in the flame.
The result is a piece whose geometry is never entirely geometric and whose fluidity is never entirely accidental. Rotation continually changes the composition: spirals become waves, waves become branching forms, and seemingly separate patterns reveal themselves as portions of one continuous field.
Tidal Geometry captures one of the central ideas of the Chromatic Series—the moment when controlled color and molten movement cease to be separate things and become a single visual language.
Tidal Geometry #1 explores the tension between deliberate structure and the natural movement of molten glass. Deep cobalt blue, opaque white, and restrained black flow through the vessel in broad, uninterrupted fields, forming sweeping contours that shift between fluid abstraction and almost architectural symmetry.
At opposing points in the composition, the colors tighten into concentric spirals before opening into larger waves that travel through the body of the piece. From one perspective they resemble vortices seen across water; from another, the spiraling arms and deep blue interior suggest astronomical forms. The white passages provide stark negative space, allowing the cobalt to appear suspended within the surrounding glass rather than simply applied to its surface.
Created using the distinctive process developed for the Chromatic Series, the colored glass is formed and manipulated as a continuous composition before being incorporated into the finished vessel. This preserves broad areas of uninterrupted movement and allows the boundaries between colors to stretch, curve, and migrate naturally as the glass is worked entirely by hand in the flame.
The result is a piece whose geometry is never entirely geometric and whose fluidity is never entirely accidental. Rotation continually changes the composition: spirals become waves, waves become branching forms, and seemingly separate patterns reveal themselves as portions of one continuous field.
Tidal Geometry captures one of the central ideas of the Chromatic Series—the moment when controlled color and molten movement cease to be separate things and become a single visual language.
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