This new series of works created for the Crosscut Exhibition could be viewed as a partial revival of American cut glass. The Crosscut series takes a nod from cut glass produced in American factories and design houses in the late 19th century.
The Crosscut series takes a nod from cut glass produced in American factories and design houses in the late 19th century. This type of work had been produced all over the world for many centuries but American brilliant cut glass made a name for itself around this time for its exquisite form and technical prowess. At the dawn of the 20th century Glass factories lined the East coast but by the start of WWI the American cut glass industry had all but disappeared. With advances in industrial technologies like press molds and automation; the role of the Glasscutter was diminished. The lifespan of American cut glass; cut short by industry and war also succumbed to the austerity of the time and quickly went out of vogue. Today, you can almost count all the contemporary American Glasscutters on two hands and be hard pressed to find a factory that is hand cutting anywhere in the United States. This new series of works created for the Crosscut Exhibition could be viewed as a partial revival of American cut glass. Not on a scale akin to past centuries and not one created in a factory but one that connects with a new generation engaged with handmade objects that are formed in the furnace and cut at the wheel. These pieces function not as vessels to hold things but containers to hold light. They are one unique sculptures produced through a creative process of manipulating the glass both hot and cold. They are bastions of the traditions and techniques of factory cut glass while at the same time representing a new direction inspired by the intersection of geography, architecture, and industrial design.