Shimmery Cove by Barbara Marder

Wall Piece

Porcelain coated steel, Thompson vintage leaded enamel

Sifting, wet pack, sgraffito

8 x 10 inches

My work explores atmosphere and the emotional resonance of landscape through the luminous qualities of enamel. Using the sgraffito technique, I apply layers of powdered glass and/or Liquid Glass enamel to porcelain-coated steel and scratch into the surface to reveal line, movement, and structure before kiln-firing the imagery into the surface.
I am drawn to the tension between control and spontaneity that enamel demands. The powdered glass shifts and transforms in the kiln, creating unexpected textures, blooms, and passages of light that cannot be fully predicted. Rather than resisting those changes, I work in collaboration with them, allowing the process itself to shape the final image.
I have been captivated by vitreous glass enamel since 1980 when I first discovered it in a high school teaching assignment. Largely self-taught with the medium, I have a formal art background having studied art as my undergraduate concentration at Skidmore College with a focus on watercolor painting. Later I earned an MFA at Boston University with a concentration in painting and art education.
I feel a strong connection between watercolor painting and painting with glass enamel since I approach both mediums with layered overlapping applications. Color is ultimately the formal art design element that most captivates me. I joined the Enamelist Society in the 1980's and attended its first conference in 1987. Subsequently I gained mastery in workshops with Gwen Anderson, Jamie Bennett, Mary Chuduck, Linda Darty, Tom Ellis, Pat Nelson, Marissa Saneholtz, and John Killmaster. Today I oversee the Enamel Studio at Artisans Asylum (artisans asylum.com) in Allston, MA, a 52,000 square foot maker space.