Limited edition sculptures inspired by the vibrant color and movement of festival costumes. Each Lady is an abstract study of gesture, and drama; her color way a clue to the persona she portrays. The Creole Contessa in her strictly vertical black and pink is the very embodiment of elegance and refinement. Her passionate nature is only hinted at by the swirling movement of color in her skirts. She is theater, dance, and storey, unique at every angle.

Each Lady is composed of 5-7 separately blown sections that are hand ground, one to the other, for a precise fit and assembled with museum quality glass epoxy. The Ladies are each a series of smaller vessels, joined one to the next to build a character.

I begin with the head and chapeau, which outlines the personality. First the hat is blown, picked up hot and joined to the head for a strong but fluid joint. After annealing, I study the small piece, looking for information on who she might become. Working from the clues implicit in the shape, color and set of her headpiece I make the body and skirts, fitting one to the next for color, surface design and form.

Each skirt presents it's own challenge. The top skirt is technically demanding: blow a form open at both ends, polished at both those openings. The mid skirt must fit both the interior and exterior of it's form to another skirt, while providing decorative contrast to both. Last, the bottom skirt must be the right size, shape, and form to accent and support all above. It should also provide a secure setting for everything above, both physically and visually.

Once all the components are blown, assembly begins. Often a reshuffling takes place, with pieces from the ever changing collection of skirts vying for a place on stage. Last minute alterations can make a dramatic difference; serendipity often outracing plans. The nature of molten glass is a treasure not to be overlooked in a welter absolutes and intentions. Indulgence, flirtation, abandon , and revelry frozen to room temperature glass rarely accept the limits of a mere artist. Often the best parts are those that my decorative methods have lent so much plasticity as to challenge the maker. In fact they often escape control much like the independent spirits they assemble to animate.

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