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Ross Neder in Peru

I've been fascinated by glass since the third grade when I discovered that glass was a viscous liquid. Sixty 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.


Throughout my career, I have been on a quest to capture visual movement in my works. After creating thousands of pieces in glass, focusing on bold, vibrant colors and large scales, I may be getting there. I want my new works to be so full of life that they appear to be in motion. To achieve this effect, I now consciously stylize the physicality of water, fire, wind, growth, and other elements.


Twenty-five years ago, I had the idea of using glass powder in a unique way. I failed, but the idea continued to haunt me. 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 a long time to reach this point, but the effect is unique, and I am thrilled with the result.



I grew up in a somewhat divergent home. My father was a nuclear engineer who eventually retired as a VP in Bechtel, and my mother had several master's degrees. She eventually garnered 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 Ph.D. in Clinical Psychology. Psychology slowly lost favor, and after practicing for about ten years, I 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. That’s unusual, given the dimensionally large scale that I do. 


 In the past 30 years, my art has become widely recognized by galleries, merchants, museums, and collectors worldwide for its scale, vibrancy, and fluidity. It represents the creative energy I could not fully express in my other careers. I’m very fortunate to have been able to be an artist and, even more so, a glass artist.

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