P a sh m in a
and
A z u l
photos (2): Bob Barrett /
U ru q in
photo: Peter W renn
Right:
Azul Kauri, 2010
glass, silver foil
23 x
6
x 7 in.
Lett:
Pashmina Cintura,
2010; glass, silver leaf
14.5 x 12 x 8 in.
if an art career didn’t pan out, she had
what she terras a more masculine approach
to work.
Engaging viewers fully, luring them
to “take a break from what’s happening in
their heads” is Solin’s intention. “People
say, ‘I could lose myself in this’ ” as they
gaze at her work, she says. Buyers of her
larger pieces are often moved at a deep
level. People show her their goose bumps;
sometimes tears well up. “They act like
‘I don’t want to live without this thing,’ ”
she says.
Which brings Solin full circle to her
original goal: touching people’s lives. Her
art brings harmony into homes and inspires
ease in the midst of harried lives.
Solin insists that nothing in her work
should be interpreted literally, though peo-
ple often point to images of everything from
nymphs to fish in her designs. And she con-
tinues to be baffled by the impulse to stick
flowers in glass. Vessels in her Kauri series
have tiny openings; still, she recalls a poten-
tial buyer speculating that there was enough
space for a pussy willow.
“Sure,” was her response, she says,
laughing. Then she adds more seriously:
“I have a ‘no carnation’ policy.” If you put
a carnation in one of her pieces, she says,
“I’ll come to your house and take it back.”
+
solinglass.com
Katherine Jamieson is a freelance writer whose
work has appeared in the
New York Times,
Ms.,
and
Washingtonian.
Two o f her essays
were recently included in
The В est Travel
Writing 2011.
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,
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I
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ir
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"L,
Solin’s
Cubeman
was
created from a drawing
done by a child. The
piece is being sold as
a fundraiser for the
Brattleboro Museum
& Art Center.
dec/jani2 american craft 061
