Fire & Ice Studio’s design work is unique in the Architectural Art Glass world.
Tranquility created by the softening effects of light coming through etched and carved plate glass and mirror, is a welcome relief in our busy world. This softening creates a nurturing sea of light, privacy, and calm. Creativity flourishes in this environment.
Working with Feng Shui principals in mind, using universal human esthetics, we move positively forward towards our collective future. Working with two aspects, Architectural and Fine Art, our studio art falls into three categories:
Neolithic, Paleolithic and Historical Art imagery:
Having studied Cultural and Physical Anthropology as an undergraduate student, I have always been fascinated by cave art and art of ancient cultures. I have often wondered about the worldview of the people who lived at the time the art was made, and how the individual artists felt about creating such imagery. Knowing that their brain power and thought process was as sophisticated as ours, the immediacy of their everyday life experiences has always intrigued me.
We change so swiftly in our technological age. The idea of generation after generation living in an unchanging world amazes me. Ever since I was a child I’ve tried to imagine what that sense of consistency may have felt like. Pre-historic cultures lasted for at least 40,000 years with only slight change. Amazing.
Each time I redraw an image that was originally drawn by an ancient human, one of my ancestors, I feel kinship in a visceral way. The art is very sophisticated; on par with anything modern man creates. I try to capture the intent of these otherworldly images from our communal past.
One series of ideas I keep coming back to involves the juxtaposition between linear and organic systems, be they architectural or modes of thought. The grid system of some modern western cities versus the organic development of cities built around animal paths organically growing. “Feng Shuei Village vs. Linear City” is an example. My concerns with overpopulation and the effect we have on our ecosystem are sometimes expressed as well.
I do a lot of water flowing imagery, both on glass, and as water ink prints from the glass pieces I make. I think they are beautiful, and really like doing them on plate glass and plate mirror since they are curvy and sensuous. They are liquid on liquid since glass in it’s solid form still flows, albeit slowly.
My most recent work has been attempting to reproduce the tidal wave patterns of estuaries and low tide patterns in mud and sand. The ebb and flow patterns that water leaves in sand can also be the same sort of patterns that wind makes to create sand dunes in the desert. Earth flow, air flow, or water flow, the patterns left behind geologically are remarkably similar. Deep carving the glass, which is silica, which starts as sand, connects me to the material at a visceral level.
I’ve played with Continental drift and plate tectonic imagery.
The animal world intrigues me. When something catches my eye or design sensibility, I represent the life form. Sea, land and air once again. Co-dependency of systems.
Plate glass and mirror lend themselves to geometric imagery and light play. The endless ways these forms can interact and combine with natural and artificial light make for sophisticated and beautiful design.
Often my inner thought process expresses itself within a geometric shape and moves out from there into more sculptural and expressive work.