Glass artist, Randy Miller, was born in Peterborough, Ontario, where he graduated from high school - his only formal art training was four years of high school art classes. Subsequent studies at Queen's University and The University of Toronto lead to a Ph.D. in Geology. Twenty-two years as a research and field geologist provided extensive experience with and observation of the natural products of molten lava and magma. Laboratory studies of melted rocks and glasses and their interaction with light provided a valuable theoretical background of glass, crystals, colour and optics. Graphic design experience includes observation of natures "graphic designs", which display elements of geometry and chaos, and much practical experience in the graphic design elements of map making and scientific diagram drawing. This observational experience and theoretical background inspired the artist to work with molten and cold glass to produce art with a "natural and earthy feel".
In 1999, the artist purchased the kilns, equipment and fusing glass from Blue Gum Stained Glass Studio and took introductory lessons in the use of kilns, slumping glass, and glass fusing. Careful reading of several fused glass technique books by well-known fused-glass artists, Gil Reynolds, Boyce Lundstom and Daniel Schwoerer provided extensive practical and theoretical knowledge of art glass fusing. Millers Glass Reflections studio (Ottawa) was opened in 1999.
The artist applied his training and experience as a research scientist to solve the technical and practical problems of manipulating molten glass to produce art that mimics "nature's artwork"; this self-teaching process is still ongoing after 10 years. Artwork, created to date, includes visual art pieces, functional glass art and wearable glass art. Functional pieces include: major items, such as dishes, vases, street number plates, lamps and clocks; and smaller items such as ornaments, spoon rests, candle holders, tea bag dishes and coasters. Wearable art glass products include over ten styles and many sizes of pendants, drop earrings, stud earrings and full necklaces; all designs and techniques developed by the artist.
Currently, the main in-studio colour palette consists of over 100 colours of cathedral (transparent) and opalescent (opaque-translucent) glass, with an additional number of coated iridescent and dichroic varieties. Application of layering techniques provide numerous other blended colours.
This fused-glass artwork has been displayed in numerous juried arts and crafts shows including the One of a Kind show in Toronto. The artist is a member of the Gloucester Craftsmen's Guild, the Cumberland Arts and Crafts Guild and the Ontario Craft Council.
FUSED GLASS ART THE PROCESS
Fused glass art commonly requires three main steps: pre-firing cold glass preparation, kiln-firing, and post-firing cold glass finishing. Step one consists of cutting/breaking glass from sheets, and, preparing and arranging design elements. The kiln-firing step requires at least one melting substep (1500 degrees F) for flat objects and, in addition, one slumping substep (1200 degrees F) for shaped three-dimensional objects; glass pieces can be kiln-cast into molds or slumped onto shaping molds. For some designs, glass is combed (swirled) or wrapped/shaped using hand tools to manipulate pliable warm glass. The final step consists of one or more of the following: grinding and shaping of the glass object; drilling of holes; and, gluing, polishing, and assembly of the item.
Production of fused glass (kiln-worked) art requires knowledge/expertise in three distinct areas: scientific-technical, handicrafting and art-graphic design. The artist must have extensive technical knowledge of glass, the melting/fusing process and kiln operation; experience of how various glasses react with each other at varying temperatures is also useful. Pre- and post-firing work usually requires extensive hands-on (handicraft) skills such as cutting, polishing, grinding and drilling. The "art" part of the process entails the choosing of colours and the placement of design elements (mostly glass, either previously fired or cut/broken from glass sheets, but also metal foil, wire and mesh).
The process, described above, produces double thickness glasswork (approximately 6 mm thick) that has the advantages of better stability (not easily knocked over by curious cats or excited dogs), more durable (doesn't break as easily), and a more solid "look" and "feel". This glasswork is generally more durable than equivalent thickness ceramic pieces.