Artist: Theresa Livingston

Craft Medium:  Glass Artist's Statement: Beads as an art in themselves were a foreign concept until recently. Even though glass beadmaking has been practiced in many different cultures for 3,000 years, a resurgence of glass beadmaking in the later part of the twentieth century occurred with the sharing of techniques and ideas by a select few artists, who had previously worked in isolation and often secrecy. Glass beadmaking and lampworking began to emerge as a forceful and contemporary art form. I like to refer to beads as “art in microcosm”. The ideas that glass can be manipulated over an open flame, that the artist’s special skills, and that the properties of glass can force a totally unique piece has kept me motivated and drawn to this ancient art form since 2006. For me, glass beads are treasured pieces of adornment, miniature art, and pieces of human history—all at the same time. After all, glass is a unique and mystifying substance man has been learning to control for thousands of years, and with each bead, I feel as though I am following tradition. As a glass artist, I strive to change the average person’s perception of what they think when they hear the word “bead” and create work that can be wearable and yet can stand alone as art. I make beads in many different styles, and I enjoy trying new techniques. The types of glass beads that can be made are as endless as is the inspiration for design. Inspiration can come from anywhere—a picture in a magazine, a piece of fabric, a silhouette in the distance. Most of my pieces are individual focal beads hung on hand dyed silk ribbons or various cords for wearing and easy display. Bead shapes can vary from long, tubular beads to my most recent challenge and obsession—complex, large disc beads. With each bead bead, glass is applied layer by layer around stainless steel rods called mandrels which are dipped in a release substance. The size of the mandrel determines the size of the bead hole. With the large disc shapes, custom made mandrels were utilized. By using various forms of glass, including rods, frits (crushed glass), powders, enamels, and thinly pulled threads of glass called stringers each bead is unique and individual. The torch flame, created by a modern day oxygen-propane system, is my most valuable tool. Knowing what part of the flame produces the desired result and knowing how glass moves in response to heat are crucial. The bead must be kept warm in the outer edges of the flame while design elements are applied. There is a fine balance between keeping the glass hot enough not to crack but cool enough to maintain bead shape, distinct layers, and raised elements. The larger the bead the trickier this balance becomes. All beads must be placed immediately in a digitally controlled kiln to properly anneal, or cool slowly, to prevent thermal shocking, to remove stress, and to promote longevity. With hours often spent on a single large bead, beads have to be a labor of love. Working with hot glass demands complete and total focus. Defeat can come suddenly with only the slightest of distractions. In an instant, the glass can become too cold, and the effort is lost. Nothing else can bring out excitement and utter frustration like working hot glass can for me. Herein lies the challenge that continues to pull me to the torch—that constant interaction with a medium that demands total commitment.