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About Dale Wayne

As a glass artist, Dale enjoys drawing inspiration from a variety of types of glass. She work in Venetian glass, mixing her own colors to lend a unique palette to her pieces. In Italian glass, Dale employs the lost art of 'murrine' or creating images in glass slices. Colors are bundled by painting molten glass around a core to create an image, then the glass is pulled and the image is miniaturized. Slices of the image are incorporated into beads, or combined and fused in what she calls murrini cameos. She especially enjoys pulling 'face cane' or portrait mosaic glass.

Dale works in Borosilicate glass as well using 'frit' or crushed glass in her Borosilicate beads. Molten glass is wound around a rod, and then rolled in the crushed glass. The frit is melted in and can be manipulated or 'raked' to create swirling patterns. The application of heat and the chemical blend from the torch gases, as well as the metal colorant in the glass, work together to     create an ethereal image trapped behind a thick layer of clear glass that acts as a magnifier.

In order to celebrate each piece of glass as a work unto itself, I hand-wire my them in sterling silver or copper. The links act as a frame, separating the forms, as well as yielding a lovely sense of movement. I also enjoy incorporating silver, copper, and bronze metal clay charms into my work, as well as semi-precious stones, vintage findings, and repurposed plastic.

All of Dale's glass is kiln annealed. Annealing soaks the glass at gradually lower temperatures, lending amazing durability due to a chemical change in the glass as result of heat.

Dale's work has been featured several times in The Orlando Sentinel, and showcased at the Orlando Museum of Art  where she had the privilege of demonstrating her techniques during the Chihuly exhibit. Her work has been carried by the Morse Museum of Art as well.

As an oil painter, as well, Dale appreciates the way glass behaves like paint.

As the colors swirl in the flame, I am transported to colorful memories, the fields of Provence, my grandmother's china, or forget-me-nots along the water's edge. As the glass travels from molten to cool, I sense they retain some of the sweetness of my travels in making them.

It is Dale's hope that her pieces impart to their wearer some measure of that bliss.