Anesthesia Associated NW 

Art - Music - Writing

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I was hired by the Anesthesia Associated NW to make a logo for their new office. That was a fun project made out of stainless steel and edge lit with LED’s and dichroic glass. While I was installing the logo, I noticed that they had a lot of large empty walls. I brought over one of my pastels to see if it was something they might be interest in purchasing. I checked back in several weeks later and they said it wasn’t really up their ally. So,I started thinking, “OK, I need to find something that has more connection.” I started researching anesthetics and I found a picture of an Isoflurane molecule that had a very cool visual rhythm.  I made a bunch of sketches and started stylizing the molecule. I made a full scale drawing with pastes on paper and a sample panel on a piece of glass. I made a presentation and left the samples for them to live with for a while. They loved the idea and my stylization, but they wanted the total image to be about 30% larger than my initial proposal. That was problematic because my initial idea was to paint the molecules onto large rectangular glass panels.
My biggest kiln is 48” x 36”, so I designed my presentation around that size.
Increasing the overall project meant I had to revise my concept.

I can do that, no problem. After about a dozen reworks I came up with the concept of
having each element be its own piece of glass connected to the other element with non-glass materials. Again, sketches and models and playing with different ideas until I
happened up on using stainless steel rings and rods (parts I already had – ie, casting rings and flow bar rods) as my “structure” to display the glass components.
I like that idea and I started making prototypes. 

I wanted the glass to have depth, colors, fun patterns and an irregular surface. Thick ¼” float glass gave me visual depth without bubbles or flaws but the surface was too perfect. It didn’t have any character. I used some Soft Cast sand contained by a Flexi-Form stainless steel band to texture the front side of each piece of glass. Then I used Fuse Master LO – Low Fire Lead-Free Enamels painted on the back side of the glass to add color.
They were fired enamel side up at low enough temperatures to avoid changing the texture on the other side of the glass. I used six firing total for each piece of glass adding texture, black and mica lines, layers of LO colors and a final face up firing with black details. I constructed the stainless steel structure to support the glass pieces and suspend them out away from the wall. This created shadows which is one of my favorite design elements
​when working with overhead reflective lighting.

All of the parts were assembled on my temporary studio wall then carefully packed up for installation. Everyone seemed extremely pleased with the finished art. I was honored that they believed in my vision. When entrusted to make a commission piece of art I feel it is my obligation to dig as deeply into my creative self as possible in hopes of discovering and building something that will bring life and joy to its new home.