WheatonArts Blog

  • Optic Stamp

    Optic Stamp

    Bronze, An optic stamp too was created to place pattern on hot glass. Light was projected through the resulting glass to create optic patterns.

  • Batons for Juggling Molt Glass

    Batons for Juggling Molt Glass

    Bronze, Beechwood. Batons were used to juggle molten glass.. 17"x3" x 2 1/2". 2013
  • Hands to Touch Molten Glass

    Hands to Touch Molten Glass

    Bronze. Bronze hand tools allow for sculpting molten glass. 7"x 4"x2 3/4". 2013

  • Radialities II

    Radialities II

    Brooch Centipede, ammonite, tangerine quartz, aquamarine, zirconite, oxidized sterling silver, resin. 2.5” x 3.5” x .75”. 2013
  • Colony of One (detail)

    Colony of One (detail)

    Bumble bee, sterling silver, mica, resin. Life size. 2013
  • Radialities Earrings

    Radialities Earrings

    Ammonite, tangerine quartz, oxidized sterling silver. 1½” x 1 ½” x ½”. 2013

  • “everybody pass me by”

    “everybody pass me by”

    scanner photograph, slumped-­‐sandblasted-­‐painted plate glass, steel. 54” x 36”x 12”, 2013.

  • “There was never nothing.”

    “There was never nothing.”

    Scanner photograph, laminated-­‐cold worked plate glass, borosilicate, found objects. Dimensions variable, 2013.

  • “Pathetic Fallacy”

    “Pathetic Fallacy”

    Hand blown glass, scanner photograph, steel. 48” x 10” x 2.5”, 2013.
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  • Vitreous Flip, New York Recipe Material Dissection

    Vitreous Flip, New York Recipe Material Dissection

    Site-specific Glass, Ceramic Crucible. This recipe uses 75% sand, 15% sodium carbonate, and 10% limestone, harvested from Jones Beach, New York. 4.5”x 3.4”. 2015.

  • Vitreous Flip, Rhode Island Recipe Material Dissection

    Vitreous Flip, Rhode Island Recipe Material Dissection

    Site-specific Glass, Ceramic Crucible. This recipe uses 55% sand, 17.5% potash, 17.5% sodium carbonate, and 10% limestone, harvested from Bristol Beach, Rhode Island. 4.5”x 3.4”. 2015.

  • Vitreous Flip, New Jersey Recipe Material Dissection

    Vitreous Flip, New Jersey Recipe Material Dissection

    Site-specific Glass, Ceramic Crucible. This recipe uses 55% sand, 35% sodium carbonate and 10% limestone, harvested from Seaside Heights, New Jersey. 4.5”x 3.4”. 2015.

  • Dissociation 19

    Dissociation 19

    Acrylic on canvas. 8.75 x 6.5in. 2014

  • Dissociation 15

    Dissociation 15

    Acrylic on canvas. 10.5 x 8.5 x 6in. 2014

  • Dissociation 17

    Dissociation 17

    Acrylic on canvas. 8.5 x 6.5in. 2014

  • Call and Response

    Call and Response

    Gaffer Frit 2012 7 ½”x 2 ½x 1 ½” The first in a series based on previous paper-cut work. This piece deals with relationships of symbols and symmetry.

  • Pom-Pom Tower

    Pom-Pom Tower

    Pom-poms, glass 2015 3’x 1’x1’ Part of a collaborative installation with Pam Sabroso at the Pelham Arts Center in New York consisting of several pom-pom covered pedestals, floor lamps, and hanging sculptures.

  • Centerpiece Triptych 2

    Centerpiece Triptych 2

    Mold blown and freehand blown glass 2016 Dimensions vary Another example of a combination created for the Urban Glass Gala.

  • “Cities: Departure and Deviation (Atlanta through Los Angeles)”

    “Cities: Departure and Deviation (Atlanta through Los Angeles)”

    Blown glass and vinyl cut drawings, (installation detail). dimensions variable, 2011

  • “Cities: Departure and Deviation (Indianapolis and Los Angeles)”

    “Cities: Departure and Deviation (Indianapolis and Los Angeles)”

    Blown glass and vinyl cut drawings, (installation detail) dimensions variable, 2011

  • “Mining Industries: Boston,”

    “Mining Industries: Boston,”

    Kilncast glass/rapid prototyped pattern and fabricated steel (installation view). dimensions variable, 2015

  • “Like Remembering a Dream the Day After” (Part III)

    “Like Remembering a Dream the Day After” (Part III)

    Glass, neon, lemons and mixed media. Blown, mirrored, gold-leafed and carved glass and “carbonized” lemons. 10’ X 12’ X 6’, 2016.

  • “Like Remembering a Dream the Day After” (Part II)

    “Like Remembering a Dream the Day After” (Part II)

    Eggshells, rubber, glass, neon and mixed media. Blown and found glass with pinned eggshells. 10’ X 12’ X 6’, 2012-2015.

  • Lemon Pile Light

    Lemon Pile Light

  • “Sólo hay dos flores: la amapola y la rosa”/ Close up

    “Sólo hay dos flores: la amapola y la rosa”/ Close up

  • “The Same Way a Light Sound”

    “The Same Way a Light Sound”

    Titled after the poem “The Same Way a Light Sound” or “Como leve sonido” by Luis Cernuda—exiled and Queer poet from the Generation of ’27: Spain’s Tragic Literary Generation The sculptural body of work presented comprises nine different pieces of annealed float glass. The standing forms are fragmented cylinders that have been severed, beaten or drilled, then glued or sewn back and re-envisioned through the insertion of hair. In exploring iterations of empathy and materiality they speak of new orders and systems. Slumped glass, adhesive, graphite, hair, high-density conglomerate wood Slumping, coldworking, sewing (lacing), glueing, wood carpentry, painting Installation of variable dimensions; platform measures 5 x 8 ft./ Glass forms are 31 in. tall Year 2016

  • “Sólo hay dos flores: la amapola y la rosa”

    “Sólo hay dos flores: la amapola y la rosa”

    Titled after the poem “Flores” from the book Orfebre by Leopoldo María Panero—Spaniard contemporary poet Goat kidskin translucent parchment, silk thread, acrylic glass box Hand wet stitching, box building Dimensions of installation are 15 x 15 x 15 in. Year 2015