In 1985 glass artist Paul Schwieder began sculpting blown glass with a sandblaster in an effort to articulate his perception of his relationships with the women in his life: mother, sisters, lovers. Schwieder explains, “To me, this newly discovered medium of molten glass had a most female like disposition so I tried to express that through blown glass with mostly unsatisfactory results. I was much more pleased with the results when I added the sandblaster into the equation.”
Darren’s Nest, hand blown, sandblasted glass
“I was much more pleased with the results when I added the sandblaster into the equation.” This sentence gave me pause for a few seconds as an image crept into my mind of the artist using power tools and protective head gear while creating the visual expression of his relationships with women. . .hmmmm. . .I could interpret that many ways but instead I kept reading:
“I would try to blow a piece of unique character and beauty; it would have to be alluring and seductive as a form. With the sandblaster I would then attempt to enhance or deny the original qualities that I had tried to instill in the form.
The result, when it was successful, would be a piece that would draw the viewer to it while simultaneously forcing the viewer to consider how intimate a relationship they were capable of maintaining with such an object.”
Fascinating. Schwieder’s work is a study of, among other things, the graceful flow of movement.
Amber Invitation II, hand blown, sandblasted glass
Both Sides II, Uranium, hand blown, sandblasted glass
“The most successful pieces are often executed in a kind of fog. The forms are usually simple and unique, and to me, evocative of someone, something, or someplace. The designs are a natural extension of this simplicity and personality. Too much thought inhibits the expression and causes the piece to look forced.” Paul Schwieder (from the artist statement on the Sandra Ainsley Gallery website)
Paul Schwieder’s website
Many more images of the artist’s work at Sandra Ainsley Gallery
