He likes attending the shows,
he says, for the obvious practical
reasons, but also because it gives
him a chance to exchange ideas
with fellow artists, who can often
appreciate the artistry in a piece
that can come only from years of
practice in the medium.
"I have people come up to
me and ask me how I made some-
thing," he says, "and when I tell
them, they say, you did all that?"
That kind of response makes him
feel like an innovator, he says; he
takes pride in that.
Mirer grew up in New York
state, and bounced around the
area, including New York City,
before settling in the glass mecca of
Corning about six years ago. "It's a
natural fit for me," he says.
Surrounded by the legacy of both
industrial and art glass, he feels
a continuity with the culture that
surrounds him.
"I'm working in an art form that
needs to be maintained. It's a
responsibility to keep doing it." ■
I
N icholas K ekic
A gene for glass
In 2001 Nicholas Kekic first lit his
own furnace in his glass studio in
Chester, Vermont; the same year,
he began exhibiting his work at
the American Craft Council show
in Baltimore.
That show came about through
the mentor program, he says; "it
was a great way to learn what was
expected, and where I fit in in the
market. While getting some guid-
ance and support from the ACC
organization and my mentor, I was
able to take a little less risk, and that
probably made a difference."
But it wasn't his first ACC show;
his father, Thomas Kekic, exhibited
at ACC shows decades ago, and
took the family along; so when
Nicholas started going as an
independent artist, he saw a lot
of people who recognized him
from childhood.
"I thought, wow, this is really my
community in so many ways."
In fact, he seems to have an
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