iable wow factor, and she too has had e’s no Grover Cleveland, Stone Temple e purchased a glass panel as a wedding ping by her studio with drummer Eric by what Schaechter had going on.

one might think she has resurrected d it in a gesture toward modern on, these figures do not have the nts and Biblical characters that became he sermon and drifted instead toward h windows. They look… sad. They are n look pained.

truction on how nstructive in ntionality plays nt to do is make

piece has cooled,” said Schaechter. “I believe strongly in overworking. Everyone should try overworking. Nothing ventured, nothing gained. Teach someone restraint and they will learn restraint. Teach them overworking, and they will also learn editing.”

While their techniques are not the same, sometimes their results are quite similar to the viewer. The famous “drapery” effect Tiffany used throughout his ecclesiastical panels – giving the appearance of a flowing robe – he achieved by manipulating a hand-held roller over a sheet of molten glass, producing ripples, folds

rtistic path as elective in art by the colorful . But their

be far different. anipulating

would use the glass very selectively ch it from the back end – there is ing, sandblasting, and filing after the

On the left, “Wreck of the Isabelle” by Judith Schaechter. Above “Nature” also by Schaechter. Click the above image to see a larger view.

29 www.artizenmagazine.com