The Roswell Rock (Revisited)

Over the years since I started writing this very strange blog, first on “blogspot” and then rebuilt later at glasstonestudio.com, where it continued to be expanded on and updated, I have at different times and in different ways stated that “the story isn’t over”. This was never just a casual way to say I wasn’t finished blogging about – it was rather that right from the beginning there had been the feeling, that I was in the middle of some unfolding thing, and that in time the story was going to provide it’s own conclusion. Well, I think it is safe to say my intuition was correct. The end of the story presented itself at the tail-end of the summer of 2014. It may take me a little time to figure out the best way to put it together and add it to the end of the blog. Life being stranger than fiction, I have to say I don’t think this could have ended much weirder. Did the story come full circle? I would have to say that in a way it did. Coming soon… (maybe)

RTRR2

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Equalibrium

found
That state of rest or balance due to the equal action of opposing forces… but is it a feeling of rest, or peace? Is it like being pinned in place? Static? Paralyzed? We are all in a state of equilibrium regardless of how aware of that we are, but it is a dynamic equilibrium. Thankfully we are in motion.

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Sandblasted Glass Portraiture

lincoln_squareIt has been the challenge of rendering the human face that has been the main drive behind why I have so often pursued experimentally the ways to better control sandblasting as a medium.

Sandblasting is about blown sand and stencil. Most of the time stencils are affixed to the glass, that is the standard method used by almost all sandblasters. This “restriction” is what gives the medium it’s recognizably distinctive look of ultra sharp edges and soft gradations between things. It wasn’t long after I started etching before I was, in some circumstances, wanting to break free of that. I believe that for most sandblast artists who encounter that urge to go beyond the standard look logically attempt “freehand’ techniques to bridge that gap between sharp and soft edges.

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