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Author: Katie_Green, Contributing Editor
| Meet Greg Chase!
Greg Chase of CD Lampwork has been working in the arts a good portion of his life. He began working with stained glass approximately 12 years ago and lampworking 3 years ago. Greg combines his lampwork with wood to produce some stunning pieces of art. Greg resides in California with his wife, Deanna, his gold cap conure (parrot) Sweetie, and Disney, their golden retriever. He works out of his home studio which is in the corner of his back bedroom, but often extends into the entire back bedroom and spills out into his garage and any other space he can find! Greg has graciously agreed to be interviewed by the Glass Masters Contributing Editor, Katie Green (nursekatie). Sit back, grab your favorite snack, and get to know Greg and his art! |
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| The Interview!
KG - The education of the arts can take many forms: “formal” (such as schooling), and “informal” (mentoring, experimentation, self taught). How would you describe how you developed your expertise? GC - This is always a tough one for me to answer. I do hold a bachelors degree in studio art (ceramics) from San Jose State, but I think I am becoming a reasonably good artist anyway. It has, however, taken me years to get over my formal education. My work has always been too whimsical and playful for high art. I spent too long trying to remove that aspect from my work. I have never taken a class in lampwork. I did read some of Cindy Jenkins book, but the only real way I know how to learn is to get in there and do it. My father is my single greatest influence in doing artwork. He was not an artist, but was absolutely not afraid to try anything. He would pick up a book or pamphlet to show him the basics, and then just try it. In the early seventies he did needlepoint, then stained glass; he built sailboats, book shelves, and green house windows, all with no formal instruction. He was the City Manager and did this stuff to relax. I kind of figured; why not just skip the stressful stuff and just go straight to the artistic stuff. I tend to find something I want to make, try it, fail, go back and learn what I need, try it again, get so so results, modify my technique, practice, practice, practice, refine technique, buy more tools, give away everything I have made up to this point, start over and then start over again. This is my current point of progress with my kaleidoscopes. I have some really cool tools right now. I just can’t find the time for my next ideas. After another cycle of this pattern, I should feel pretty good with the results. I do like the current kaleidoscopes, but I know how far I still have to go. |
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| KG - How long ago did you start working with glass as an art form? Do you remember what first sparked your interest?
GC - Well, I guess my real first intro to glass was from my father. When I was in high school, back in the seventies, he decided to take up stained glass. He never took any classes, just picked up some pamphlets, tools and glass and taught himself. I remember my brother and I sitting at the dining room table watching him learn this new art form. Sounds kind of art nerdy, two high school students watching their dad work, but we found it fascinating. Some years later, when my parents moved, I snagged his tools and took it up myself. That must have been about twelve years ago. I have always been fascinated with hot glass. I took a glass blowing class in college, but only really got into it a little less than three years ago. It has been the most consuming art form that I have ever taken up. |
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