I have experimented and recorded glass firings for fifteen years, and previous to this I spent another five fusing clay and glass.

I believe a fuser should almost be self-taught as it is in isolation with a kiln, an untried firing cycle, chosen material, and a diary that you can really record the necessary data for results. Therefore building a body of techniques that personalise your portfolio.

An informed technical understanding of glass, how it heats and cools is crucial. The coefficient expansion rate determines all. Colour changes and the introduction of alternative materials and coatings require more knowledge of compatibility with many palettes only maturing at temperature.

Cold work demands many hours. I tend to obsess over the finish of a piece, controlling its flawless presentation rather than allowing a random outcome.

I wet drill my glass with 1mm drill bits thousands of times and my suspended installations require painstaking-threading techniques developed myself. The assembly of an installation evolves with many aesthetic decisions made in progress.