Artists |
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| blown art glass | John Cook | |
| Cliff Goodman | ||
| Ingrid & Ken Hanson | ||
| Dale Heffernan | ||
| Smyers Glass | ||
| ceramics | Catherine Merrill | |
| Janice Rowell | ||
| fine jewelry | Mylene Bernard | |
| Opera Alley Designs | ||
| Ann Wallach | ||
| graphite objects | A. S. Batle | |
| mixed media | Susan Hersey | |
| mobiles | Timothy Rose | |
| oil paintings | Annette Poitau | |
| Gregory Vasgerdsian | ||
| serigraphs | Michael Guerriero | |
| textiles | Michael Kensinger | |
| wire drawings | Sten Hoiland | |
| Dale Heffernan |
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My journey into the world of art came by way of an elective class that I took at Palomar College. I signed up for glassblowing, never anticipating the upheaval that would happen. Not more than a week into that semester, I decided that I was now an art major because that is where the glassblowing studio was. |
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| Later I enrolled at San Diego State University. (At that time I was working full time blowing glass for Blodgett Glass under the watchful eye of Buzz Blodgett and it was there that I was able to begin to truly hone my skills.) San Diego State has no glass program, so I decided to focus on jewelry & Metalsmithing as my emphasis area. I could not have made a better choice had I tried to plan it that way. The metals program at SDSU, along with a very small handful of others, is indisputably the best in the world because the reputation and capabilities of Arlene Fisch (now retired) and Helen Shirk. They attracted the best students from throughout the world. I also attended CCAC, studying glass under Marvin Lipofsky (itself another legendary program). |
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| Color, form and craftsmanship are the factors most influencing my work. I want each piece to be visually exciting and technically challenging. I strive to make each piece to be not so much about the material, but about the creativity and controlled outcome. |
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