This early work still has your humour and brightness, so of course, I love it.
It's so fascinating to see how you develop the process. I have always been enamored of reverse glass painting and seek it out often in museums, we even have some good older examples in places around her, it being very popular in Victorian times. I just love your take on it.
Playing in the studio more now, I thought about attempting some. What made me consider it was when I print make I often use plexi glass or perspect sheets on which I lay out metal tape, pieces of things cut paper or etch into it to make the 'plate' from which to print. And I held up one of my plates in the window the other day to check the quality of it and instantly thought of you.
If I make any attempts at it, as a professional and master of the craft, what would you suggest be the most important thing to consider?
When I learned traditional glass painting from my father, it was he, who pointed me towards reverse glass painting. At first I didn’t even like it all that much. With time I got a hang of it and now I find it very special.
Most important I think is to have your glass really clean, so your paint sticks well. Also, despite the fact, that it can brake, I‘d always use real glass. Just think of a beautiful vase made of plastic and one of porcelain...
Glass is a fabulous material. I remember drooling over venetian glass beads in Italy.