WHY GLASS?

Because glass never looks exactly the same twice.

Light passes through it. Color overlaps. Reflections appear. Shadows move.

The artwork you see in the morning may reveal something completely different late in the afternoon.

That’s part of the magic.

Light becomes part of the artwork.

(NOTE: LAYOUT: Large lifestyle photograph occupying roughly 2/3 of the screen, with copy alongside.
Use an image where we can actually see sunlight interacting with the glass.)

COPY:
Unlike an opaque surface, glass doesn’t simply reflect light.
Light can travel through it.
As it does, colors intensify, transparent areas glow and shadows become extensions of the artwork itself.
The result is never completely static.
Small caption:
Changing light. Changing view.

GLASS + LAYERS

(Here I want three photographs.
Individual pieces of cut glass
Layers assembled before firing
Finished artwork)

GLASS + SHADOW

(note: This section could be spectacular visually.
Use one of your wall pieces mounted on standoffs with a visible shadow.)

(Text)

The artwork doesn’t stop at the edge of the glass.
Mounting glass away from a wall allows light to move behind it.
The resulting shadows can create a second composition—one that changes throughout the day.
The wall becomes part of the artwork.
For outdoor pieces, we can show colored shadows falling across stone or landscaping.

GLASS + FIRE

(Here we finally show the kiln.)

(Copy)

And then there’s the part I can’t completely control. Glass is fired in a kiln at temperatures high enough to soften and fuse the individual pieces. Temperature matters. Timing matters. Chemistry matters. And glass occasionally has ideas of its own. That’s one reason no two pieces are exactly alike.

GLASS + PLACE

(Instructions: This transitions beautifully toward the lifestyle gallery.
Use two large images:)

Indoors | Outdoors

Glass responds to where it lives.
Placed near a window, against a wall or among plants in a garden, glass begins interacting with everything around it.
Light. Architecture. Landscape. Color.
That’s why I don’t think of my artwork simply as an object.
I think about the place it will become part of.

GLASS + MARY

(Now we finally introduce you.
Studio portrait—not necessarily a formal headshot.)

(COPY: Perhaps I was always going to end up here.
Before becoming a glass artist, I spent thirty years as an interior designer.
I learned to think about color, proportion, scale, texture and—most importantly—how people experience the spaces where they live.
Today, those same instincts guide my work in glass.
I’m still designing for spaces.
I’ve simply changed materials.