This is a mosaic of all my ampolinas as of 2016. The target was to create a record of my skill as a glassblower over the course of my career. I have been making a few a year every year since 2005 or so.
This image is a composite of twenty ampolinas superimposed upon each other. The first twenty.
One idea I have been experimenting with is waterjet cut glass tessellations. The parts are designed with a CAD program, then
After placing upon a blown form, the tessellations tend to morph on their own. The final product is a result of both chaos and uniformity.
This reticello was made with alternating solid-color canes. This makes the original problem (making two cups with consistent ribbing and twist) more difficult.
Tumblers made individually, both unique and repeating their patterns.
A pair of blue lipped twisty goblets,
Bowls are one of the hardest things to make well. This bowl is an example of my old work. The curve is a little wonky, but I’m fairly happy with the result overall.
Through the course of 2015 and 2016 I made many goblets, but did not take a lot of pictures of them. Here are five fairly nice ones.
Golden Lion Distillery in New South Wales, Australia came to me with a request for a set of tumblers. I responded with these designs. The individual tumblers are each different. Obviously handmade, and obviously unique. The distillery’s logo is embossed on the side of some of the tumblers, so the overall effect is both rustic and handmade.
The idea behind this series was to create as many colors as possible through layering. Since glass is the most common handmade transparent artistic medium, this series was intended to take advantage of that transparency, and generate as many colors as possible.
A continuation of the ‘layered color wraps’ series. See here the combination of a smooth, symmetrical lip with the chaos of the wraps.
Clear, simple bowls are the hardest of glassblowing tasks.
This platter is two colors marbled. One of the two colors reduces, and the other does not. The result is a very chemically complicated surface; the blues and reds combine to make a beautiful patina. Small bubbles and imperfections in both the glass and the platter itself make the overall result more interesting.
My wife Lena Dubinsky and I began this series as an exploration into making glass objects whose surfaces looked as layered as natural landscapes and objects.
This is a detail shot of the largest, “Nature Mort,” platter my wife and I have made.
This platter is an example of the work my wife, Lena Dubinsky-Brams, and I have started to make together.
This platter is an example of the nature scenes my wife, Lena Dubinsky-Brams, and I have been making recently.
Another example of the Nature Mort series by Lena Dubinsky-Brams and Dylan Brams