Functional & whimsical fused glass, jewelry, wall sconces, dishes, sculpture, & blown vessels.
Glass fusion and kilnworking are indigenous to the Pacific Northwest, and Lynn McManus has her own flavor of the skills and artistry found in glass art. Her focus on natural elements, combined with her family origins bring clean lines and organic forms to new life.
____________________________________
LH: When is the first time you realized you were an artist?
LM: When people around loved my work and told me I should be selling it.
LH: When someone is viewing your work for the first time, what do you hope they’ll see in it? Or, what do you want them to say about your work?
LM: I would like them to know the time spent to create my pieces.
LH: Tell me about a time when you had a Eureka moment — what did you discover? What does that say about you? Was it personal discovery or was it about a working method or…?
LM: I always have a Eureka moment when I open the kiln and it looks like the way I had pictured it in my mind.
LH: What do people ask you when they come to see your work?
LM: How do I know where to start? How long does it take?
LH: What else do you think people want to know about you?
LM: I’m passionate about glass and its properties and excited when I can change them.
Your artistic direction:
LH: In what ways does the place where you live (or places where you have lived), affect the art you create, or your artistic preferences?
LM: I love the colors that surround us in the Pacific northwest. Cool colors, blues and greens, and sometimes yellows!
LH: Describe your most recent artwork.
LM: Most recent was 7 panels for a Fishing vessel that had the interior galley redone. It was King salmon, sockeye salmon, silver salmon, cod, herring, King Crab, opilio crab. If they film and keep in after editing it might be on the Deadliest Catch!
LH: What are you up to right now? Current or upcoming projects, shows, experiments, collaborations, etc.
LM: I have 3 pieces juried into the Edmonds Arts Festival juried show and am currently working on another commissioned piece for a private collection.
LH: What’s your ultimate direction for your art? Where do you see yourself in 5 years, 10 years?
LM: I see myself still working hard creating and learning new techniques.
LH: What aspect of making art excites you the most right now?
LM: Trying new techniques with glass.
Surroundings:
LH: How do you balance your art with other obligations – mate, children, job?
LM: I fit it in when I can.
LH: What music do you listen to, if any, while making art?
LM: I love Jimmy Buffet, Irish music and music from the 60’s and 70’s.
LH: What is one art tool or supply that you would take to your proverbial desert island?
LM: Glass, frit and a cutter! I know that’s three but I need them all.
LH: What is it like to be an artist in Edmonds?
LM: It’s awesome being an artist in the best city on earth, in my opinion.
LH: If you could take a fantasy artist vacation anywhere in the world, where would it be? Your goal would be to soak in art history or to make your own art. Where would you go?
LM: Italy
LH: Why are you drawn to work with glass?
LM: To take what starts as silica (sand) and its melted into sheet form with minerals added for color, I cut, stack, and reheat again to put the different colors together. When molten (1750 degrees, I am able to bring a steel rod through it and comb those colors is so gratifying. When it cools down I can heat it again and give it shape and dimension. It amazes me.
LH: I’ve noticed that certain subjects, colors, motif geometric patterns appear often in your work. What attracts you to them?
LM: I like doing geometric patterns but also have been painting with glass powders.
LH: Tell me about the classes that you teach and your interaction with students.
LM: I teach intensive fusing classes with my mentor, Patty Gray, and also help Michael Dupille with his workshops using frit painting and mold making. I love the creative interaction I have with students. A lot of creativity is happening at these classes and risk taking, too. They are definitely stepping out of their boxes to try many of these new techniques and are so proud when they see what they are capable of doing.
LH: How do you know when a work is finished?
LM: That’s a great question! I am limited by the number of times I can fire something, so that is one way. Another thing I do if I’m not sure is walk away for a couple of weeks then come back to it.
LH: What are some ideas you have brewing for your next works?
LM: My collection of frit seems to be growing, so who knows where that might take me. I’m also working some smaller pieces using different methods to make jewelry.
LH: Do you prefer to work with others around or by yourself? Why? What does that look like?
LM: I work by myself unless I’m teaching someone.
LH: Is your studio/workspace neat or not neat? — what does that say about you?
LM: It all depends. Usually it’s not neat to someone looking at all the supplies, molds, kilns, tools and stuff I use and need. But I know where things are, for the most part. I always preface a client visit with I’m a working studio, not a gallery. But, It does get cleaned up yearly for the studio tour!
LH: How do you get the word out about your work?
LM: Word of mouth, studio tour, juried shows and galleries.
LH: Are you an introvert or an extrovert?
LM: I’m an extroverted introvert?
LH: For an artist, what does it mean to “be human?”
LM: To change your methods and learn from mistakes and take risks.
_________________________
Contact:
Lynn McManus
Studio 5
Edmonds Art Studio Tour 