General Info:
MEDIUM: GLASS As brothers-in-law and co-owners of our studio in Ashland, Oregon we are enjoying creative freedom while exploring the medium of blown glass. The wide variety of colors and forms that glass can take on, as well as the scientific properties, continue to intrigue and enlighten us in a way no other material does. We are partners in every way. We both have the skill set to function as lead gaffer or assistant, and we usually alternate our roles. When creating new designs we will first sketch and contemplate color selections because each element in the glass that creates the color reacts and responds uniquely to one another. After agreeing upon a possible composition, the one who is gaffing gathers 2140 molten glass onto a stainless steel blowpipe from a furnace that contains 500 lb. Then he applies colors in the form of a solid glass bar for solid colors and/or crushed broken glass, called frit, for a mottled effect. Using wooden and steel tools, wet newspaper, centrifugal force and gravity, the gaffer works the glass as the assistant fills the vessel with blown air. After the assistant transfers the vessel onto a solid pipe, called a punty, the final shape, design and texture is achieved. Throughout the process the glass is kept at working temperature using a variety of torches and by reheating it in a 2300 gas and oxygen fired oven, called the glory hole. Once the desired effect is achieved, the gaffer shocks the vessel off the punty and the assistant catches the completed vessel and loads it into an annealing oven set at 898 . At the end of the day we cycle down the oven, over at least a 12-hour period, so that the glass slowly cools to room temperature. At last the unique creation is complete but from each expression new ideas always form. Scott began his studies at the Seattle Glassblowing Studio in 1995. His natural talent and charisma enabled him to excel quickly and he was soon asked to begin teaching introductory classes. As his skill level progressed, he assisted in advanced courses and completed several free-lance assignments. Between 1996-1997, he worked with many world-renowned glass artists including Martin Blank and Jim Mongrain. In 1997 Scott began working for internationally renowned glass artist Dale Chihuly. Scott was a full time member of the prestigious Team Chihuly through 2000 and worked on many projects; including the Bellagio Hotel installation in Las Vegas, the Jerusalem 2000 project, and chandeliers for both Benaroya Hall in Seattle and Paradise Island, Bahamas. Due to his advanced skill and ability to create with any team, Scott was one of the chosen few chosen to blow Chihuly's glass spears in Nuutajarvi, Finland. In 2000 Scott moved to Santa Cruz, CA to work for internationally recognized glass sculptor Paul DeSoma. Paul studied under Italian Glass Master, Pino Signoretto, and initiated Scott into a variety of highly specialized sculpting techniques. Scott is now part of a family partnership at Gathering Glass Studio in Ashland, Oregon. He utilizes his unique skill set and colorful approach to teach others and create product lines with his brother-in-law Keith Gabor. Keith began his glassblowing career in 1998 at the Virginia Commonwealth University in Richmond, VA where he earned his BFA in Crafts with a focus in Glassblowing. While he was earning his degree, he worked for Williamsburg Glass Company where he experienced all aspects of a glass shop; from blowing in the hot shop to grinding, polishing, cutting, mixing batch and finishing glass in the cold shop. It was there that he developed respect for the art of production and the Early American glass techniques developed in East Coast factories. He then began working in various west coast states as a glassblowing instructor, gaffer and casting lead crystal. He also discovered a passion for technical work while employed at an aerospace co