FEBRUARY/MARCH 2013 Newsletter 

In This Issue
Heather Trimlett LIVE DEMO
Sign up for Feb Workshop!
City Beat ... Art of Glass
AGA gang at BAGI
40 Years in Stained Glass
Letter from the President

Happy New Year Glass Lovers,

2013 Got off to a great start with a General Membership meeting January 13th, once again, hosted by Pat and Carrie Warren.  Their studio feels like a "home" for the AGASC as they always welcome us with big smiles, warm hearts, and a table full of food!

We kicked things off by sincerely thanking outgoing Board Members, Bill Matulich (Secretary) and Susan Hirsch (Vice President), along with 2011-2012 Committee Chairs, Marti Blair (Show Committee), Rob Morey (Education), Susan Hirsch (Technology), Ilanit Shalev (Membership), and Gail Pulkrabek (Guild, who was re-elected to serve another term during the December election).  I then introduced our two new Board Members, Jennie Brennan (Secretary), and Jack Wade (Vice President) Jon Simpson and I stayed on for one more year.  This will enable a staggered Board rotation to provide continuity and a smooth transition in leadership.  And then...we got down to business!

We paused the general meeting so that new committees could form and choose chairpersons.  They are as follows:

Education Committee Chair: Marti Blair

Public Relations: Chair: Susan Hirsch

and drum roll.........
Show(s): Co-Chairs: Gayle Tunney Richardson and Doug Dailard
Gayle was in charge of our most successful raffle for the 2012 show and Doug, a Professor of Art History at City College, was one of our Judges.  We are extremely pleased to have them step into their new roles.

To help you choose which committee you would like to join here are the descriptions:

The Education Committee will function much as it has in the past 2 years: planning workshops, lectures, field trips, and other educational events for each month without a General meeting or show.

Having achieved all goals set forth by the Technology Committee 2 years ago (newsletter/website/online payments, etc) the newly named Public Relations Committee will manage and enhance those projects, assume the membership drive, create public awareness of the AGASC, and work hand in hand with BOTH other Committees to raise the visibility of the AGASC.

The 2013 goal of the Show(s) Committee is to secure 2 shows, one at Gallery 21 in Spanish Village with a possible twist to our traditional format and an aim toward increased sales.  The second would be a juried exhibition at a high end gallery!
ALL 3 Committees need creative, organized, motivated volunteers...willing to focus, compromise, inspire, and work!  Contact the Chair for the committee of your choice (yes! you can be on more than one!)

Here's to an artful 2013!!
Kathleen Mitchell



Live-streamed Studio Demonstration: Heather Trimlett at the Corning Studio  
February 6 at 8am to12pm Pacific time!

Watch Heather Trimlett demonstrate for her Beadmaking with an Introduction to Glass Buttons class at The Studio. Students of this class will learn to work smarter and more efficiently in order to gain the maximum return on torch time. During this demonstration, the instructor will demonstrate her "no-fail" way to create a successful hollow bead. This class will take the mystery out of clear casing, stringer work, large-hole beads, and disc shaping. The magic of making perfect twists and then applying the twists also will be covered in the class.

No registration or fee is required to watch this portion of the class. Connect to our Ustream channel on February 6 to watch.

Watch past live-stream demonstrations on our YouTube Channel. See the full listing, and be sure to check back for new videos soon.

NOTE: Our AGASC member Heather Trimlett has taught workshops at the Studio at Corning for several years and participates regularly in our annual members show. You can read more about her and see what other workshops she is offering at her website.




 Art Glass, Supplies

and Classes 


125 West 157th Street
Gardena, CA 90248

phone (800) 354-5277

or (310) 516-7828  







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Portland OR 97202

(503) 232-8887



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Santa Fe, NM 87505

(505) 467-8951



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Emeryville CA 94608
(510) 595-1318





2139 N. Kerby Ave.

Portland, OR 97227 USA

Phone 503-284-4900

FAX 503-284-7584





toyo logo  


 A new generation of self-oiling professional glass cutters  





Pat's 1502


Stain Glass & Repair  



2176 Chatsworth Blvd

San Diego, Ca 92107

619-223-1895 or 619-224-4622  





4225 Thurmon Tanner Parkway, Flowery Branch, GA 30542






Division of Clay Art Center, Inc.

2636 Pioneer Way East

Tacoma, WA 98404 United States

800-952-8030 or 253-922-5342 

Fax 253 922-5349 



The finest hardware for the hanging and displaying of
glass art available!  
Phone: 650-353-4642


February Workshop... Glass Heart Paperweights
                       Make a special VALENTINE gift!!!

The Education Committee of the AGASC is offering a first-come-first-served Glass Heart Paperweight Workshop for 16 lucky members!  Each participant will make a beautiful, one-of-a-kind, glass heart paperweight in the hotshop at Nottingham Artists' Guild 

Saturday February 9th, 10:00am - 2:00pm
We can only accommodate 16 participants so register early to secure your spot!!
Will be held at Nottingham Center for the Arts  240 South Bent Ave, San Marcos, CA 92078


REGISTER at AGASC30@gmail.com 
You must be there by 10:00a for demo and instructions
Wear cotton clothing, long sleeves/pants, closed toe shoes!
$25.00 (make check payable to AGASC)

Taught by Kathleen Mitchell, assisted by Taryn Bertolino and Jennifer Brennan

 City Beat Magazine Features Rob Morey...




Rob Morey's new work is careful choreography between artist and dripping glass

Rob Morey's glass bowls and other decorative pieces are lovely, but the artist considers that side of his work his living, not his love. Lately, Morey's passion comes when he's working on his new body of work-extremely delicate strings of glass he weaves into chaotic yet controlled abstract compositions of color and form.

"This work is real different," Morey says, chatting in his studio tucked inside a large yellow, metal building in San Marcos called Nottingham Artist Guild (nottinghamarts. org). "This work really comes from the heart, and it's really about just me creating and finding that sweet spot inside.... This stuff, I don't even care if it sells, I just make it for the joy of making it."

Morey's studio (ramoreydesign.com) is basically split in two. His more commercial work, like his dragonfly triptychs and glass panels, are up front, and his laboratory is in back, slowly filling up with experiments: Melted glass that's frozen into sculptures he describes as music or poetry in space.

Two small kilns are mounted about eight or nine feet off the floor. He checks the temperature-1,800 degrees Fahrenheit. It's too hot, so he turns the temperature down and waits to demonstrate his process. He grabs a small flowerpot filled with chips of glass, which he'll put inside the kiln. When the glass begins to melt, it starts dripping slowly through a small hole at the base of the flowerpot and out through the bottom of the kiln.

With his safety goggles on, a pair of pliers in one hand and a heavy glove on the other, he pulls at the molten glass, swiftly twisting and turning it into loops and other shapes as it slowly oozes out of the kiln. After he gets a basic structure, he sets the mounds of stringy glass on his worktable and tweaks the pieces until the composition feels right.

"I talk about my work being a choreography between the artist and the material because glass is molten," Morey says as he pulls at the gooey, wispy strings of glass, making a dance-like motion as he works. "Typically, glass artists.... they try to take that chaos, that molten glass that's like honey on the end of a stick, and control it to make these beautiful things. I'm more about allowing the glass to partially control me and partially decide what it's going to do.

"It becomes more accidental sometimes, although I know that when I take it and pull it down and take it back up I can do different things with it and get that kind of a curl," he adds. "I can generally control what I'm doing, but not always, and that's part of the philosophy of what my work is about-letting go."

A little more than a decade ago, Morey was a high-school art teacher. He was content, but not happy. He'd always wanted to be a fulltime artist, but he never had the guts to make it happen. Then came his illness- Churg Strauss vasculitis, a rare autoimmune disease that first disabled him, then nearly killed him. Doctors recommended chemotherapy, and Morey found himself getting treatment next to folks with cancer who were in far worse shape than him. Every week, it seemed like another person didn't make it back to their next treatment.

The chemo worked for Morey. His wife swiftly convinced him to give up teaching and go after his dream.

"She said, 'Go do it; you barely escaped death, so now's the time,'" Morey recalls.

And so he did, settling on glass as his medium because he likes the way it reflects light. He built a studio in his garage and struggled for months to find his particular style and voice. A year went by before Morey was back at his doctor's office, this time to receive a shocking new diagnosis-testicular cancer. He started on chemotherapy again and was particularly affected-not by the possibility of his own death, but by watching those around him die.

Morey's experience, mixed with his time in the Art Pulse Mentor Program, which takes mid- or late-career professional artists and offers them guidance and advice in taking the next step in their careers, inspired him to change the trajectory of his work. He began his attempts to capture the fragility of life-the fine line between life and death and the beauty and enjoyment that can still be had, even with the possibility of a certain end looming not so far away.

Morey reaches out and snaps off a tiny piece of glass from one of the latest in-progress sculptures sitting in front of him.

"Everybody's got a clock in them," he says. "And when the time is there, it's there, and it's part of this cycle.... So, this work is supposed to be joyful. But when you talk about fragility, people often think [it's referring to] cancer and death and all these things, but that's not what it's about. It's about rising up off the ground and rising out toward space and reaching up and saying, 'OK, I'm fragile, but screw you, look at me, I'm joyful.' It's about fragility, but despite fragility, there's growth, there's life, there's existence."

At an opening at Art Pulse gallery a few months ago, Morey's new work was on display in public for the first time.

One of his pieces was set on a pedestal, another mounted on canvas, held in place simply with dried paint. Several small bits of glass from both pieces had broken off and were collecting on the ground around the work. Indeed, the sculptures are so delicate-looking that it's almost like they're asking to be touched and tested. It's tempting to reach out and poke them to see if they're as fragile as they look.

"It's kind of a compliment in a way," Morey says. "People are being drawn to the work. They want to touch it and be a part of it."


See this at "Archives" City Beat  




                 The Murriniest of Times!  
                               (yes I made that word up)...   by Kathleen Mitchell    

Once again, I traveled with an intrepid group of glassblowers, including AGASC members Jennie Brennan, Carolyn Moore, and Jaron Scott, to BAGI (Bay Area Glass Institute) in San Jose http://www.bagi.org/glass-blowing.html for another fantastic workshop.  This time it was "Murrini Weekend" with Johnathon Schmuck http://www.schmuckglass.com .  Many of you will remember Johnathon from the fantastic workshop he taught at Dick Ditore's a few years back, or from his influential book "The Joy of Coldworking".  He was a key member of the team that developed the Roll-Up with Klaus Moje and has worked and taught extensively on nearly every continent.  
We met up with 3 former students from UCSD (who have relocated to the Bay Area) to completely fill the class. We literally had BAGI all to ourselves for 3 days!
Now, I have taught murrini making with both the overlay and the bundled cane techniques in the hotshop, as well as some pretty intricate designs with COE 104 at the torch...but I have not done murrini with Bullseye since the early 80s at Pilchuck.  I suspected much had changed, and I was right!  What I'd remembered as simply pulling flat bundles has morphed into incredible manipulated, organic, crazy patterns where the sky is the limit!  With never a dull moment, we seamlessly moved from fusing studio, to hotshop, to cold shop...ordering in lunch so that we didn't have to stop.  Teamwork is a key element when working in a glassblowing studio and we functioned like a well oiled machine.
BAGI is a fantastic public access studio, Johnathon is an immensely talented, funny, patient instructor, and our team was nothing short of awesome!


Reflections of a 40 Year Old Family business

sdnews features "our" Pat Warren! 

People used to call Point Loma resident Pat Warren "that stained-glass lady with the short name," but she calls herself "the "oldest living Park and Recreation volunteer."
"I've outlasted most everyone else," said Warren. "I started volunteering on the Robb Field's Recreational Council when our son started playing youth soccer. I'm still working with the council and now have grandsons playing sports. I also started the Dusty Rhodes Recreation Council. I was always good at sports. My motto is, 'If you're short and left-handed, you need to be quick.'"
Meanwhile, Warren's stained-glass company, Pat's 1502 Glassworks, is celebrating its 40th year in business. She said she had very inauspicious entry into the stained-glass business.
 "In the early '70s, some friends asked me to join their stained-glass class because they needed one more student to keep it going," she said.
Warren loved it and took more classes. At the time, she and her husband, Max, were enlarging their house and had some old stained-glass windows that needed repairing. Her teacher convinced her to repair them to open a clear path to their family business. Their daughter, Carrie, joined the company in 1996.
Warren also makes an effort to preserve local stained-glass windows.
 "We've been salvaging old windows [pre-1929] from homes the Port District is removing to exchange for new triple-paned vinyl windows," she said. "Many people appreciate the imperfections of the old process and there is quite a market for it. Diamond patterns were very popular back in the '20s and '30s, but after 80 years, the lead frequently wears out, so we always have a rebuild project going on in the shop ... We seldom part with anything [glass], because we may need it tomorrow."
Stained glass must be able to resist wind and rain and support its own weight, but Warren said most stained glass isn't as fragile as it looks, either.
 "For large panels, however, we attach rebar and secure it into the frame to help keep the piece from sagging, which will eventually will happen thanks to gravity," Warren said.
 A lot of different elements go into making stained glass, like potash, soda, lime, silica, metallic oxide powders, copper oxide, gold, silver and other items. Warren belongs to a stained-glass association and goes on trips to various foundries, art studios and places where great new glass ideas come from. There are several hundred artists in the association and they all help each other.

San Diego has many fine examples of stained glass, including The Jesse Sheppard House, John Ernst CPA house on First Avenue in Bankers Hill, the Hotel Del Coronado and the Graham Memorial Presbyterian Church in Coronado, which uses Tiffany glass.
 "Every job has its own unique character and makes work fun," Warren said. "Even after 40 years at the same job, we learn something new nearly every day. "

Some of the Warren's artwork includes the front door stained-glass window of the historic Queen Anne Victorian house of CPA John Ernst at 2408 First Ave. near Balboa Park. Recently, the Warrens built a stunning 75th anniversary chancel window in the remodeled Point Loma Community Presbyterian Church. The artwork was designed by Michael Huff and Suzy Spafford Lindstrom of "Suzy's Zoo" fame.

Stained-glass work has its unique risks, but Warren said she at least still has all her fingers.
 "I cut myself fairly often but one learns to be really careful around glass," Warren said. "Lead poisoning is a greater risk. We try to be vigilant and have our lead levels checked every six months. We call holistic people to work with us when our levels start to rise ... Their cleaning processes and herbs bring our levels down when traditional doctors can't."
 The Warren's warehouse, located in an alley near Point Loma High School, has special benefits that are hard to see.

Warren is clear about the future of stained glass.
 "As long as people continue to think and experiment, I know the stained-glass industry will continue to evolve," she said.




Welcome New Members!    

Douglas Dailard
Janet Gordon
Andiliy Lai
Nicholaus McGuire
Melissa Osborne
Thomas Todd  



FEBRUARY 6        LIVE STREAMING of Heather Trimlet 

                               8-11am Pacific time at the Studio Corning Glass



FEBRUARY 9        Glass Heart Paperweight Workshop
                               At Nottingham Center for the Arts
                               240 South Bent Ave. San Marcos, CA. 92078                                              
                               10am - 2pm      Space is limited. Register early!

                               RSVP to AGASC30@gmail.com  
APRIL 5-7              Glass Craft and Bead Show 
                               South Point Casino and Hotel 
                               Las Vegas, NV  
MAY 11-12             Art Glass Guild Show & Patio Sale                              
                              Spanish Village Art Center
                              1770 Village Place, Balboa Park, San Diego, CA 92101
                              10am -5pm  
JUNE 12-15          (CANCELLED) Glass Art Society (GAS) Conference  
                              Boston, MA  
JUNE 20-22           BECon 2013: Chroma-Culture.   
                               Bullseye Glass  
                               3722 SE 21st Ave Portland, OR 97202  
OCT 12-13             Art Glass Guild Show & Patio Sale  
                               Spanish Village Art Center  
                               1770 Village Place, Balboa Park, San Diego, CA 92101  
                               10am -5pm  
OCT23- NOV 4     2013 AGASC Annual Members Show
                              Spanish Village, Balboa Park  
                              1770 Village Place, Studio 21  
                              San Diego, CA  92101



To submit events that may be of interest to our members contact

our AGA Newsletter Editor Carol Korfin  



Share your experiences at a workshop, show or event with all of us at AGASC!

              This is your newsletter...  We would love to hear from you!  


           Deadline for Articles and Events for April/May Issue is March 15   



Carol Korfin Newletter Editor and Susan Hirsch Designer/Layout
Art Glass Association of Southern California