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max jacquard: stories in glass

Trained as a furniture designer, Max Jacquard found he was more suited to working with clay and glass, eventually developing a reputation for his innovative techniques and concepts. The UK artist combines media, kiln formed and cold worked techniques to tell personal stories.

Prodigal Scarecrow

The Prodigal Scarecrows shown here, are part of Jacquard’s Glass Stitchery series. He used fused, slumped and sandblasted glass, stitched together in a patchwork style, brilliantly making us believe they are fabric effigies standing guard against predators.


“These figures are like strange guardians of the landscape standing proud but slightly tattered but as if they don’t quite know what their purpose in life should be.”

Qui Pau Dress

Jacquard’s website shows a diverse collection of sculptures in several different series – many of them, both the work and his thoughtful descriptions – may give you pause for thought.

Tree of Jesse

Look closely at the sculpture of Jacquard’s son Jesse’s arm above (Botanical Series) to see the plant tendril that runs through the center of the arm. This is the core casting technique he has become known for: “combining two disparate forms in one glass object.”

Tree of Jesse

From the website: “The outer casting is taken from the arm of Max’s son Jesse aged twelve. The inner form is the tendril of an Ivy plant as is snakes it’s way up a tree. Combining the two forms brings forth a host of associations and metaphors including motifs from religious and art historical sources from ancient history and the Renaissance and from Eastern and Western culture. It is at once a very universal and a very personal piece that could only be made in glass.”

Max Jacquard’s website

tinctory revisited: the constancy of change

I never get tired of researching fine craft and discovering new art to share, but sometimes I forget there are more than 3,400 posts on DAM and the artists I’ve shared continue to create new work. . .wonderful work. Hmmmm. It’s time to make a more concerted effort to revisit previously showcased artists to see what they are doing now. Has the work, the artist, the medium or the message changed?


Today we revisit an artist we last took a peek at almost 5 years ago. Her hand-smocked, hand-dyed, repurposed silk creations spoke to me as much as her words – of romantic soft edges, movement, day dreams and the poetry of daily life. We only knew her as Eva and she was creating quite a stir with her unusual jewelry.


Recently I discovered Eva had her first child about a year after I showcased her work and she found it challenging to create during those early months and years while she tended to her greatest creation, her sweet baby girl.



Speaking about her infant daughter in 2012, Eva said “She’s unfurling like a new leaf, with the same energy that lies hidden in something tightly coiled.”


As she settled in to her new role she wrote about the transition, words I’m fairly certain resonate with mothers everywhere:

“Now that it’s gone I’ve come to realize what played an important role in my past life: solitude. It let me focus and see in the way that made Tinctory what it was. Motherhood has been a time of intense closeness. I’m never alone. If I ever pick up this thread that’s hanging loose here something will have to be very different. I also found that being a mother to a baby is something I’m unable to do part-time for various reasons. So what I thought would be months away will more realistically be a few years.”



tinctory4Eva let Tinctory go as she watched her toddler explore, announcing it was time to say goodbye to that chapter of her life. And then in January of this year she wrote that she is slowly resurrecting Tinctory. On her terms, in her time, to our delight!


The fabrics she uses for her jewelry are tinted with natural dyes. On her blog she shares many photos, recipes, thoughts, ideas. The blog is a lovely trip; her words quiet and serene and, well. . .just lovely.

One of the new things she is working on is a series in which she challenges herself every month to make a piece dyed with whatever she finds outside at the time. The photo below is a necklace from that series.


“The main feature of this curious necklace is a pleated and smocked fabric bead. It was made from organza silk dyed with oak galls. It has the shape of an irregular orb, maybe the oak gall itself or a seedpod from which emerges a mysterious ‘eye that sees’.”


While I love all of her work, I am partial to the feathers series (seen above). I can’t tell you why, just that I love them. In the end, that’s what DAM really is – a collection of objects I love. For more than 8 years I’ve simply been sharing one person’s aesthetic. . .fine craft that makes me stop to look, explore, think, exclaim and that begs to be shared. Having your company on this journey of discovery makes it all the sweeter. . .

Previous post on DAM in 2010


Eva’s shop

jason gamrath revisited

I first posted about Jason Gamrath in 2012, as he was beginning to burst onto the glass art scene. I wasn’t kidding when I said he was one to watch. His recent Venus Fly Trap and Pitcher Plant collection is luscious.






At first glance you notice that Gamrath’s sculptures of flowers and plants are lovely. Sure. But wait. WAIT. In most of the images you don’t get a good sense of the size of the sculptures – and it’s the size that sets these beauties apart. The Columbine sculptures pictured below? 8 feet tall. Oh.My.Goodness.










You cannot fully appreciate this work until you see the creations installed.


The artist and his Venus Fly Trap


Jason Gamrath’s website 

Previous post on DAM about Gamrath

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