Faces, Flowers, and the Window
From the Greenbriar studio · March 2026
The March photographs move around the studio as though each piece is being introduced to the light. A white bird opens its wings against a field of blue and yellow glass. Floral drawings appear in long and square arrangements, first as stark dark lines and pale blossoms. Nearby, portraits take turns against the window: a woman surrounded by curls and flowers, another emerging from blue water, another whose colors are still gathering around her face.
Several images hold a piece upright so daylight can come through it. The painted line remains visible, but the background changes. Clear glass catches the trees outside; blue becomes brighter; shadows from the drawing fall onto the table. The window becomes part of the work’s final appearance.
There are also quieter studies: detailed botanical passages at opposite ends of a larger arrangement, a face in monochrome before color is added, and small framed imagery being considered at a different scale. The variety makes the month feel expansive. Figures, birds, and flowers all belong to the same studio, each asking for its own balance of drawing and light.
March preserves a useful truth about making glass art: a photograph on the worktable can record the hand, while a photograph at the window reveals what the piece will do in a room. Both views are needed to understand it.
Archive note: The photographs are dated March 17, 2026 and show several pieces or stages. Their firing and completion dates are unconfirmed.
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