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Ross Neder in Peru

I've been fascinated by glass since the third grade when I discovered that glass was actually a viscous liquid. Thirty years later I still love this medium and the creation of art in the glass medium is the perfect combination of intense physicality, engineering, and the creative process for me. When I'm done with a piece and finally able to touch the work the next day (it takes 15 hours to cool) it's like Christmas but I get to add a work of art to the world that will exist indefinitely and hopefully continue to please people's aesthetic forever.


After creating thousands of works in glass with a focus on bold vibrant colors and large scale, I have finally realized the attribute that I was unconsciously trying to attain. That attribute is visual movement. I want these new works to be so full of life that it appears they are still moving. I now do this consciously by stylizing the physicality of water, fire, wind, growth, etc. The first derivative of all these qualities is life or movement. That is what you get with my work and why it took thirty years to get here.


Twenty-five years ago I had an idea of using glass powder in a way that was totally unique. I failed, but the idea continued to haunt me. The years of practice and the acquisition of copious tools have finally enabled me to produce what I'm calling the Hubble and the Transition Series. It's taken thirty years to get to this point but I am very happy with the result.


I grew up in a rather divergent home. My father was a nuclear engineer eventually retiring as a VP in Bechtel, and my mother had several masters degrees eventually garnering multitudes of international acclaim for her artistic expertise in Sogetsu Ikebana, textiles, and watercolor painting.


Initially, I followed my father’s bent becoming licensed to operate Naval Nuclear reactors, and eventually earning a PhD in Clinical Psychology. Psychology slowly lost favor and after practicing for about 10 years I totally changed my life's direction from a science-based perspective to an artistically based lifestyle and built my own glass blowing “hot shop”. Given my fairly unique foundation in engineering, academics, and aesthetics I designed and fabricated an artistic environment that allows me to blow glass without the assistance of a large team of support artists. Virtually no other glass artist works alone in the dimensionally large scale that I do. 



In the past 30 years, my art has become widely recognized by galleries, merchants, museums, and collectors all over the world for its scale, vibrancy, and fluidity. It represents the creative energy that could not find full expression in my other careers. I believe that glass is simply a medium to produce a “look at me” response that I try to infuse into every piece I create. Why else have art?

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