Talking Out Your Glass podcast

Susan Stinsmuehlen-Amend is an artist for whom ideas have always been more important than media, and possibly more integral to her work. It's interesting then that her art has been consistently viewed through the lens of glass. In the creation of her early X series to more recent Calendar Notations, she has pioneered techniques such as non-traditional, unfired painting on glass, mixing glass with other media, and presenting painted, decorated glass on the wall in reflected light. Throughout her career, the artist distilled her own life experiences in the creation of progressive and experimental work.  While studying Fine Arts at the University of Texas, Austin, in 1973, Stinsmuehlen-Amend was serendipitously introduced to glass and went on to become partner with Rodney Smith and designer of Renaissance Glass, an architectural glass studio. Beyond teaching and employing 14 artists, she built a creative hub that included studio space, glass supplies, a hot glass studio, education and exhibitions. Understanding the cutting edge in the field, Stinsmuehlen-Amend invited luminaries in the Studio Glass movement such as Dale Chihuly, Paul Marioni, William Morris, and Narcissus Quagliata, among others, to lecture and teach in the early 1980s. The studio became the center for contemporary glass in Texas from 1973 to 1987. While balancing single motherhood, donating time to the arts, and running her business, she became the Glass Art Society's first woman president (1984 – '86).  Concurrent with designing stained glass commissions, Stinsmuehlen-Amend was determined to make the craft form a means for personal expression. Through experimentation and rebellion and influenced by the local punk scene, her radical fashion designer best friend, Pattern & Decoration and Neo-Expressionism in art, as well as innovations in the world of craft, her work became unrestrained, kinetic, glittery, and jarring—defiantly not "tasteful" or functional. Combining mixed media with glass was a new idea at the time. For Stinsmuehlen-Amend, the shifting qualities of glass itself—its capacity to reveal, obscure, reflect, and distort—became integral to how meaning unfolds. Rooted in stained glass's narrative tradition, her story emerged through her everyday stream of consciousness rooted in the surreal logic of dreams.  In 1987, Stinsmuehlen-Amend relocated to Los Angeles, where she became a full-time artist; solo exhibitions and dynamic public art commissions followed. She was the lead artist on the Hollywood Demonstration Project in Hollywood, completing a precast concrete crosswalk with inlaid glass and bronze and an adjunct wrought iron public space. In 1994, she completed leaded glass for the AT&T corporate headquarters and The Jewish Museum, both in in New York City. Throughout these decades, she maintained her commitment to teaching, returning to Pilchuck Glass School repeatedly (1980 to 2019) and serving as a visiting artist at RISD, RIT, Tyler School of Art, California College of the Arts, and numerous other institutions. Stinsmuehlen-Amend's work is included in major collections including the Los Angeles County Museum of Art, Detroit Institute of the Arts, Oakland Museum of California, Corning Museum of Glass, Tacoma Museum of Glass, and Museum of Art and Design. She has received two National Endowment for the Arts Fellowships, two Pilchuck Hauberg Fellowships, and the 2007 Brychtová Libenský Award. The artist served 14 years on Pilchuck's Board of Directors and is a Trustee Emeritus of The American Craft Council and an Honorary Life Member of the Glass Art Society. She was recently awarded by the American Craft Council with the biennial College of Fellows honor for contributions to the craft ecosystem. Opening on May 16, 2026, at the Corning Museum of Glass, Tough Stuff: Women in the American Glass Studio will feature Stinsmuehlen-Amend's work. This new exhibition celebrates the female artists who revolutionized American Studio glass. The artist states: "Many artists found my loose and inclusive approach to working with glass inspirational because I was continually violating preconceived notions about craft and glass specifically."  

Recently, Nadine Saylor has been creating a series of gas and oil cans featuring imagery of her local surroundings. These more "masculine" objects remind her of the things her grandfather had in his shed. In thinking about gender and how it relates to the objects with which we surround ourselves, she investigates what role gender plays in our world writ large. Assistant Professor of Glass and Sculpture at University of Nebraska, Kearney, Saylor is originally from Hershey, Pennsylvania. She received her BFA in Photography from the University of the Arts in Philadelphia and her MFA in Glass from Alfred University in upstate New York. Since then, she has taught at Bowling Green State University in Ohio, Harrisburg Area Community College in Pennsylvania, and at Southern Illinois University in Carbondale. In addition to teaching at the collegiate level, she has taught many workshops internationally including The Studio at the Corning Museum of Glass and Penland School of Craft in North Carolina. She has also given demonstrations nationally and lectured internationally. Saylor has exhibited in many exhibitions across the country including the Cafesjian Art Trust, in Shoreview, MN, Toyama's International Glass Exhibition 2024 in Japan and has shown at SOFA Chicago. She recently completed a commission of two works Carrie Oilcan and Copper Kettle Nebraska for the Federal Reserve Board Gallery to be on display in Washington, DC, and to compliment her works commemorating American industry that were purchased in 2024. Derivative of her childhood, Saylor's works are instilled with love of Americana and history along with an interest in the stories behind the objects, the places, and the lives they have touched.  For example, Saylor's series of pincushions began with the familiar Tomato and Strawberry forms. In researching the history of these objects, the artist learned the pincushion was placed on the mantle to ward off evil spirits. When tomatoes were out of season, women made them out of fabric and used them as voodoo dolls. "I enjoy these kinds of historical narratives and use them as a vantage point in my work," she says. Imagery tells a story on the surface of many Saylor works. For example, Foggy Morning in the Black Swamp is a replica of an antique coffee pot she found in an antique store. The imagery on the surface is inspired by the artist's bike rides on the old railroad trail bike path through the Black Swamp.  She states: "My surroundings continue to affect the imagery on my glass as I lived on a farm in Southern Illinois with an array of chickens, goats and horses. This nostalgic life took me back to traveling to my grandmother's house in the countryside of rural Pennsylvania. Not only does my current rural life in Nebraska play a part in my glasswork, but I am also interested in the memories sparked by certain objects and what roles they play in our lives."   

Rick Beck's modern cast and carved figurative glass sculptures are inspired by industrial and architectural works as well as the human form, with an emphasis on formal aspects. Interested in playing the volumes of mass against the rhythm of the lines, Beck enjoys the interplay of the visual versus the verbal, creating art that challenges the eye as well as the mind. Beck states: "My wife, Valerie, got me a book about the competitive relationship between Picasso and Matisse. Their artistic dialogue about the figure has fired my imagination, especially the way they shared and borrowed images and ideas from one another, as well as from history and literature. Between this book and visits to the Art Institute of Chicago, I've been inspired by the use of shape, form, and mass to create something more universal than the literal subject." A studio artist who was based in Spruce Pine, North Carolina, for 30 years before moving to Hawaii in 2020, Beck began working in glass at Hastings College in Nebraska, where he received his BA. The artist received his MFA from Southern Illinois University, where he studied with Bill Boysen. He was awarded residencies at the Appalachian Center for Crafts 1989 to 1991, and in 1994 received a Visual Arts Fellowship from the North Carolina Arts Council, followed by a National Endowment for the Arts regional Visual Arts Fellowship from the Southern Arts Federation in 1995. A student of the Studio Glass movement, Beck has assisted at Pilchuck Glass School, assisting artists Curtiss Brock and Jan Mares, as well as at the Penland School of Craft.   Beck currently shares a studio with wife Valerie Thomas Beck in Hakalau, Hawaii. Valerie has been a designer and co-conspirator to Rick since 1984. Both artists have been artists-in-residence at Penland School of Crafts, North Carolina, (1991-94) and have also been instructors there. Their blown glass work consists mainly of vessels – canvasses for imagery based on dreams and experiences ranging from the sublime to the ridiculous. These vessels document their lives while providing beauty and pleasure. Since moving to the Big Island, Beck's challenge in making glass work is two-fold. First, to create work without using fossil fuels or adding to the demand for capacity on the electrical grid. Their new studio is powered by a solar/photo voltaic and battery system. Second, to create work that excites and challenges his concepts of art inside these new energy parameters. For him, formal aspects are crucial. Beck stretches and manipulates common shapes and objects, reducing the objects to pattern and geometry. Currently, he is producing work focusing on the geometry of life, plant, and human forms.  Beck's work will be on view in 2026 at Blue Print Gallery, Dallas, Texas, opening February 26; at Hidell Brooks Gallery, Charlotte, North Carolina, in May; at Blue Spiral 1 group show, Asheville, North Carolina; and at Ken Saunders, Chicago, Illinois. His work is also represented by Raven Gallery, Aspen, Colorado.    

Karisa Gregorio's autonomous stained glass panels explore themes of sex, death, God, the Devil, pleasure, temptation, intimacy, love, lust, and indulgence. The relationship between glass and light in stained glass allows her to create works that feel alive. Using traditional processes as well as techniques developed by modern stained glass master Judith Schaechter, the depth and intimacy of Gregorio's materials create a world in which the pleasures of the flesh and emotions of the heart are equally illuminated and illuminating. Having received her BFA in Craft + Material studies, with a major in glass and minor in figurative illustration from the University of the Arts in 2016, Gregorio was named a 2025 MacPherson-Wortley Emerging Artist and received the Glass Art Society (GAS) Emerging Artist Award. Generously funded by Nancy and Roger MacPherson and Barbara and Richard Wortley, the MacPherson-Wortley Emerging Artist Award is presented annually to three exemplary emerging artists in the glass community. This prestigious juried award includes a cash prize, a special lecture slot at the annual GAS Conference, a digital exhibition catalog, and a residency at the Chrysler Museum of Art Perry Glass Studio. "We are honored by the MacPhersons and Wortleys' visionary commitment to emerging artists. Their support allows us to expand what our Emerging Artist Awardees receive; a larger cash prize and a residency can be remarkable opportunities for emerging artists as they seek to expand their practice," said Brandi P. Clark, GAS executive director. In 2024, Gregorio's work was featured in a solo exhibition Worldly Pleasures at Rick Prigg's Gallery 26 in Philadelphia. Serving as adjunct professor in glass at The Crefeld School as well as coldworker at John Pomp Studios, TA for Glenn Carter Assemblage at Pilchuck Glass School, studio assistant for Judith Schaechter, and TA for Wes Valdez and David King, Gregorio has been the owner of Thirst Glass since 2020. Gregorio aims to one day create a cathedral in which enlightenment comes from the experiences in life that, in her opinion, make life worth living. She seeks to create an environment in which relationships between the viewer and work, and the relationships between people, are not limited, but allowed to be felt and fully indulged in.      

Derek Hunt is an award-winning glass artist and educator, a Fellow of the British Society of Master Glass Painters, a Fellow of the Royal Society of Arts and an accredited stained glass conservator. He designs and makes glass artworks for public spaces, private homes and churches using methods to include traditional stained glass as well as working with new techniques such as screen and digital printing to push the creative boundaries of the medium.  In addition to creating and restoring stained glass works, Hunt hosts specialist Master Classes throughout the year at his studio in Leicestershire, teaching adults glass painting methods and techniques. Additionally, he runs a popular YouTube channel making inspirational videos and tutorials as well as podcasts with his favorite stained glass artists. His Instagram is part promotion and part inspiration for anyone interested in the medieval art and craft of stained glass. Says Hunt: "My ambition is to ensure new stained glass not only survives but thrives in the 21st Century, and the very best way to do that is to inspire the next generation." Born in 1962, Hunt is a mentor for stained glass artists on the BBC series Make it at Market. He earned his B.A. (Hons) Degree in Art and Design from Edinburgh Art School, 1980 – '84. He established his studio, Limelight Studios Ltd., in 1985. The artist won a Guildford Design Award for his 9-panel memorial window at St. Martin's Church, East Horsley, Guildford in 2025. Other notable Hunt works include a new north aisle window for St. Mary's Church , Melton Mowbray  in memory of John Plumb, a major church benefactor. The Tree of Life includes the coat of arms for Melton Borough Council and Melton Mowbray Town Estate. Other local references include a pork pie and Stilton cheese, and a dove with a brush dipped in red paint. This refers to an 1837 incident in which a drunk Marquis of Waterford and friends painted Melton Mowbray's toll-bar and other buildings red. For John Rylands University Library Manchester, Hunt created an 11-meter-tall glass sculpture entitled Totem, situated in the new extension to the Manchester University Library. Using a combination of digital printing and bonded handmade antique glass, the sculpture is back lit with an arrangement of LED lights. The design includes various visual references to the library's archive collections of important first edition books. Hunt has also undertaken stained glass conservation work on a number of notable buildings including Glasgow Cathedral, Coventry Cathedral, Kenilworth Castle Warwickshire, Oscott College Birmingham, Staveley Hall Derbyshire, Ayscoughfee Hall Lincolnshire, Manor Lodge Sheffield and Nevill Holt Hall Leicestershire. Says Hunt: "I help artists build their skills, confidence and creative style in stained glass. If you want to learn all about creating beautiful stained glass you've come to the right place. I'll help you navigate your creative journey, giving you the confidence to create. It's safe to say I've got lots of experience on everything to do with designing, making and conserving stained glass. Every project is unique, with a focus on collaboration and community engagement being at the heart of my many commissions."    

Upon graduation from the Tyler School of Art and Architecture with a BFA in glass, Gemma Hollister was awarded the Windgate-Lamar fellowship from the Center for Craft, which allowed her and her partner to start a small studio in Philadelphia, Antolini Glass Co. While balancing her personal artistic practice and work as a production glassblower, the artist recently appeared on Netflix's Blown Away: Extreme Heat. The show inspired new work, which she made both in her own studio and during a residency at Monterey Glassworks. States Hollister: "Blown Away gave me a chance to challenge myself and level up my skills in glassmaking. It isn't very often that you are given such specific parameters and a time crunch to make your work. I gained so much confidence in myself as a gaffer and an artist. Looking back, it was also very special to me to be able to represent a younger generation of glassblowers, especially female glassblowers, on such a big stage." A 2023 Saxe Emerging Artist nominee, Hollister developed a practice that involves creating fantastical objects, sculptures, and installations that center around themes of imagination and control, manifesting as both literal and abstract sculpture. For her, working with glass is an exercise in the belief that her own actions directly affect change. She works to further understand the material so that she can control its outcomes by working with direction and intention.  She says: "The act of creating glass, as in many crafts, is a protest against an unresolved and rapidly evolving technological world. Glass historically has proven the power to educate, inspire, and call to action those who observe it. In my practice, I manipulate traditional associations with both blown and stained glass — its narrative structure and divine light — by addressing contemporary issues that I want viewers to reflect upon." Hollister has traveled the country as a student and teaching assistant at institutions such as the Corning Museum of Glass (CMoG) and Pilchuck Glass School. She received a partial workshop scholarship from CMoG in 2024 and a Pilchuck Glass School Summer Staff Scholarship in 2023. She has been a teaching assistant to both hot glass and stained glass greats such as Martin Janecký, Jason McDonald, Bill Gudenrath, Aya Oki and Judith Schaechter. Hollister participated in Blown Away Season 4 Group Exhibition at CMoG in 2024, an exhibition with Karen Willenbrink Johnsen and Morgan Peterson at Traver Gallery, and a solo exhibition titled Heaven Is Full Of Junk in 2022. She will teach in 2026 at CMoG August 9 through 22 with her partner Tate Newfield.  

Using Etsy for pattern sales, Patreon for teaching classes and Instagram for promoting her artwork, Hana Hastings, Sand and Fire Works, Grimsby, Ontario, Canada, has acquired a substantial following for her offerings in stained glass. Wanting to differentiate herself from the more traditional glass designs and commonly seen pattern work, Hastings brought nature and natural subjects into the homes of her patrons by experimenting with 3D sculpture and unique textures and colors of glass. Mastering her marketing efforts on social media, the artist grew a following significant enough to dedicate full-time hours to her craft and begin teaching her techniques online to other budding glass artists. Says Hastings: "I've only been a full-time glass artist for five months after nearly two decades of being a hobbyist and in business for six years total. In 2026, I hope to focus less on producing work for sale and more on artistic exploration in my chosen semi-sculptural approach to the Tiffany technique. I'm also absolutely fixated on sustainability in glass art and am working towards being a fully no waste studio." Inspired by nature and her "dangerously vast" collection of houseplants, Hastings developed a series of 3D sculptures in rarely seen textures and colors of glass. She made a name for herself via this unusual and modern take on design in the local glass scene as well as the online sphere. Her new work sells out on Instagram in as little as six minutes on release. With over 270K followers on that platform, Hastings is one of the most followed glass crafters of today. Hastings' work is deeply personal, a connection with glass rooted in the artisan legacy of her grandfather and teacher, Seamus. They spent countless hours of her childhood working together, and those moments shaped her love of glass and knowledge of the craft. Two decades later, the artist channels that heritage into her own practice, designing original work and small sculptures inspired by the forms, geometry and textures found in the natural world.     

Michael (Mick) Meilahn's body of work, which includes glass sculpture and large glass and multi-media installations, intertwines the artist's investigation into agriculture, crop production, genetic food modification, and the ancient history of corn. Primordial Shift, a quintessential example of Meilahn's later installations, consisted of 32 hand-blown glass ears of corn averaging 4-feet high, suspended on stalks of cord with leaves of cast bronze on a backdrop of video projected to create an illusion of gentle swaying in the breeze and surround-sound audio that included the chirping of birds and rustling of leaves.  Since 2022, Meilahn's Primordial Shift exhibition has been touring the U.S. with stops at Bergstrom-Mahler Museum of Glass (Neenah, Wis.), The John P. McGovern Museum of Health & Medical Science (Houston, Texas), South Dakota Art Museum at South Dakota State University (Brookings, S.D.) and the Rochester Art Center (Rochester, Minn.) from June 1 through September 30, 2025. Primordial Shift is a work of art. But underlying Meilahn's aesthetic is an agnostic, if not ambivalent, philosophy concerning agronomy or the crop science and the application of that science by horticulturists to plant production for the enhancement and improvement of nature for human and animal life. In that sense, Primordial Shift, along with most of the artist's other installations, are not agents for or of change, but artworks that illuminate the pros and cons of genetic modification. States Meilahn: "With today's sophisticated technology and global positioning, a 24-row corn planter can plant 1,000 acres a day with laser accuracy, 35,000 plants per acre with placement exactly 6" apart, and 1 3⁄4" deep. The instant the seed hits the ground, germination begins. That germination is as primal as it gets. It's everywhere! Just look. The shift part is engineered; with results that are all so convenient. Is this shift good? You decide."  Meilahn (b. 1945) grew up on a family farm near Pickett, in Central Wisconsin. After graduating in 1964 from high school in Ripon where he excelled in art, he entered the University of Wisconsin-River Falls to study agriculture. He subsequently switched his major to art, after he realized agri-business was not his passion. At UW River Falls he took his first course in glass, and in 1966 he started blowing glass. At this time, Harvey Littleton was running the studio glass program at UW Madison, made famous by a slew of glass graduates, the most famous being Dale Chihuly. As an undergraduate, Meilahn spent a quarter abroad working with glass legend Erwin Eisch in Frauenau, Germany, on the Bavaria/Czech border, an area with a rich tradition of glass making. After graduation in 1971, he spent a year in Bolivia as an idealistic Peace Corp volunteer intent on helping people in South America by sharing knowledge he'd learned from farming. Subsequently, he enrolled at Illinois State University, Normal, where Joel Philip Myers had begun a glass program and earned his Masters degree in art.   Ultimately, Meilahn's roots drew him back to his family's farm in 1975 where he and his wife, Jane, raised their children, and where he alternately operated the family farm and the hot glass studio he built. In time, his passion for art and farming became one-in-the-same as a form of creative expression. Since 1996, when he turned 50 and began planting genetic seed, Meilahn's artwork has focused on genetic modification, which has symbiotically shaped his life and work, both as an artist and a farmer. His installations afford viewers the opportunity to view and contemplate the production of corn from the dual perspective of an artist who knows the subject from life. For the past 15 years or so, this convergence has been the basis for a number of important works. Meilahn served as the President of The Board of Directors of the Bergstrom-Mahler Museum of Glass in Neenah, Wisconsin. He has taught at Penland School of Craft in North Carolina and The Archie Bray Foundation in Montana. His work has been exhibited in the traveling museum exhibitions, Wisconsin's Glass Masters and Environmental Impact, produced by David J. Wagner, L.L.C., the annual Smithsonian Craft Show, and at The Corning Museum of Glass, which has also featured the artist's work in its New Glass Review for over four decades. Meilahn says: "An ear of corn is the point of convergence for my dual careers in farming and art. Corn is not a typical subject in art. But for me, the lines, rows, numbers, higher prices, lower prices, color spectrums, mapping, information technology, air masses, and species have all combined to have unwittingly become a catalyst for my art."        

Austin Stern's Little Monsters series is a body of work where cartoon-like creatures interact with physical manifestations of their own anxieties. These worries which assail the monsters, gleefully weighing down their minds and bodies, are simultaneously sinister and comical representations of our daily setbacks and stumbling blocks. By approaching this subject matter from a playful perspective, the viewer is invited to find the humor in the small battles we fight daily to find positivity, peace, and happiness. States Stern: "I am inspired by the bright and highly saturated colors found in the toys and cartoons of my childhood, and the patterns found in both nature and the world of fashion. My current work explores interpersonal relationships and mental health. The ways in which we support each other, take care of ourselves, and how we cope with various anxieties and fears are all concepts my work explores through a cheerful lens of brightly colored playful creatures." Blowing glass since the age of 14, Stern attended high school in Palo Alto, California. After earning a degree in glassblowing from Emporia State University in Kansas, the artist moved to Seattle to develop his own artistic practice in the vibrant glassblowing community of the Pacific Northwest.  Stern exhibits his work nationally and internationally, and has been a resident artist and instructor in the United States, Thailand, and Sweden. His work is in private collections around the world and in the permanent collections of The Corning Museum of Glass, The Fort Wayne Museum of Art, The Bangkok Glass Company, and the Samcheok City Public Art Collection in South Korea. He was selected as one of 100 artists included in New Glass Now, a Corning Museum of Glass global survey of contemporary glass that travelled to the Renwick Gallery of Smithsonian Art Museum. In 2026, Stern's work will be exhibited in June at Klüber Gallery in Weinheim, Germany, and he will teach a summer workshop at the Corning Museum of Glass.