Artisans have been blowing glass into metal forms for two thousand years. We are pushing the technique. We can make complex forms in glass and bronze that we could not do in either medium alone. As we’ve stretched the technical processes of blowing glass into metal, I’ve had more and more artistic freedom. Our figures can be lighter and wilder in their motions, and we’ve become able to manipulate the glass around its armatures in increasingly playful ways.
As this happened a new quality arose in my work: it has become more fluid. I think these new figures have the effect of not only capturing the dancers’ motion, but of infusing them with the motion of the glass. It is liquid and shimmering. The metal structures—rigid and formal in a way that glass alone can’t be—literally allow us to build a cage that holds glass shooting through the air. And the glass animates these formal structures with its fluidity: It’s like a photograph of water frozen for a second in the air. It’s an effect that I don’t think one could capture with any other medium.