In my work I endeavor to create objects that possess a lasting quality, layers of depth and interest with unique character. This challenge is my motivating force.

Over the years I have had the good fortune to follow my imagination and be able to explore different mediums of expression. I have taught myself, through books and experimentation, to weave textiles, sculpt clay tiles and make handbuilt vessels.

It was my desire to combine glass and clay that brought me to fusing in 2000. All that I have learned along the way has made the jump to glass a small step and provides a cache of inspiration from which to draw upon.

Greensburg, Pennsylvania has been my home for the past 23 years where I reside with my husband, two cats, several fish and our silly smooth collie.

Please feel free to contact me at 724-832-7385 or email for pricing or for additional information.

Thanks for your time and interest in my work.

Using the ancient technique of winding molten glass around a metal wire and the modern technology of a torch, each bead is created and embellished with a selection of fine silver foil and wire, 23k gold leaf, glass powders, frits, hand-pulled stringers and dichroic glass. All beads have been kiln annealed and cleaned.

One by one, they come off the mandrel, as individual as a fingerprint.

Fusing glass is a multi-step process that begins by stacking compatible pieces of cold glass in layers, typically 4 for pendants, 6 for dishes and more for deep casting projects. An electric kiln is used to heat the stacked glass to a temperature that softens, then melds, or fuses, the glass layers together. After a quick reduction of temperature to stop the glass at the desired shape, a period of slow cooling begins to properly anneal the glass. This cooling process lasts for several hours or even days for thick projects.

When the fused glass has cooled to room temperature, a number of coldworking techniques can be employed for further refinement. The tools I currently use in my studio include a wet saw, different types of grinders for smoothing and polishing and a rotary tool for a variety of applications.

After coldworking, the glass is put back into the kiln for a fire polish to make the edges smooth and glossy. The kiln must be heated and cooled slowly during each firing. If the glass is to have shape, it goes back into the kiln to be slumped into a mold.

Each firing, from fuse to slump, requires a different temperature to achieve the desired result and varies according to the coefficient of expansion (COE) of the glass per manufacturer. It is not unusual for projects to go through several firings before being finished.