Kimberly Thomas

This transcript was created using speech recognition software. The GEEX team reviewed the transcription, but it may contain errors. If you’re able, please refer to the episode audio before quoting this transcript. Email support@geex.glass with any questions.

Britt Ransom  0:05  

Hi, I’m Britt Ransom.

Kimberly Thomas  0:08  

Hi, I’m Kimberly Thomas.

Kimberly Thomas  0:14  

I just didn’t really know what we were going to have in common in a lot of ways. But having faith in the GEEX team, after listening to everything, I was like, “Oh my god, we’re so similar in a lot of different ways!” There was too much, there was so many things that we just had, you know? Scale, emergence… there was just so many different themes that we had in common in our work. I guess in more mechanical ways of building and constructing works, there was a lot of commonalities and… Oh, trees. Like I, you know, like you like, I like trees for different reasons.

Kimberly Thomas  1:00  

But we just had like, there was objects or sources that we were drawing from that, you know, maybe in a different, we got different things from them. But we still had that… that connection.

Britt Ransom  1:13  

As a sculptor, glass is maybe a material that’s the least familiar to me at least in terms of my own skill set. But it was really interesting to look at the way you also are kind of using this material to like, we’re both building these kind of like speculative worlds or kind of dipping in and out of things that are very human and kind of moving into a space that’s more kind of dreamlike, or starts to pose a lot of questions. And I was really interested in the way that like you are like hyper specific and so detailed in glass. I think scale was certainly one element of it.

Britt Ransom  1:52  

But I also was like really interested in your ability to kind of take that as a material, and both like mimic things in the real world, or things that we recognize like teeth, and like our bodies, and like, kind of aspects of humaneness. And there’s aspects of humaneness that are maybe sometimes kind of gross or like sometimes that we think about as being like hyper personal, both like kind of making them in this this kind of microscopic scale to a certain extent, but like talking about these kinds of like much bigger world kind of sensibilities and moving in and out of these kinds of multiple worlds that we like live within.

Britt Ransom  2:27  

I think when you were talking about going on walks, definitely it was like interesting to me that like we both use this as a mechanism to I feel like I think about walks is like an expansion of a studio. I feel like a lot of times people like what are you up to in your studio? 

Britt Ransom  2:42  

And a lot of times that answer for me is like, I’m not in my studio, in its sense of its four walls, I’m in my studio and the sense of like, I’m being fed from this environment that I, I like need to kind of like take pick apart and reconstruct, and I saw that happening a lot in your work. And in your practice, I think impression wise Yeah, at first I was kind of like, this is such an interesting material that I feel like, it feels very foreign to me, as of right now.

Britt Ransom  3:13  

But I felt like the further I looked at it and kind of broke it down into the ways that we use different materials to like, re approach ideas and processes that we all experience in the world or maybe are trying to escape or fix. I felt like you know, there was a lot of alignment in our practice and our practices and that kind of sense.

Kimberly Thomas  3:37  

Britt, you mentioned that 3D modeling doesn’t necessarily want to scan or copy something as fragile and complex as the work you produce. Why is pushing the limit of 3D printing and other computer aided tools an important part of your practice?

Britt Ransom  3:53  

A lot of the reasons I’m like really interested in these tools and these processes is that one, they’re starting to become kind of more regular aspects of our like day to day lives. I know that like you know, you can use your cell phone now, for example, as a 3d scanner, we’re kind of using apps and systems that like us AI and you know, AR and VR and AR spaces like these augmented and virtual systems that we’re kind of constantly living within and kind of living with now and I think we don’t we don’t always kind of sit and think about the reality of that. I’m really interested in kind of using 3d modeling and 3d 3d scanning in particular, I would say, to try and capture elements from our world because I’m I think I’m a little scared and a little apprehensive of accepting the kind of truths of these systems sometimes. And I’m interested in the scanners inability oftentimes to copy really intricate things in nature that I think of as like an absolute right we can see it we can feel it, we can touch it. We can experience it. And like, what does it mean when we put that back into a computer system and then try and put that back out into the world, I’m really interested in the ways that like the computer, you know, in a lot of ways, they’re building their own intelligence based on what we put in. But at the same time, there’s still this kind of data loss from, for example, translating an environment, from physical space into computational space and back out. And I’m kind of interested in that like slippage in between of like, the fact that like, we want so desperately to like, sometimes capture our environment, save our environment, maybe pick up a rock from a place and put it in our pocket, like keep a piece of ephemera from a site. And I think the computer obviously, we’re getting way better at like systems that are able to do this, I find that both magical, scary, and also a little bit sad that like, I’m really curious about what that kind of like data loss and translating from one space out to another kind of means. And I think that’s, you know, kind of the real ethos of some of my practice with the scanner is like this, this ability to trust, but also this like kind of sadness, or like a mourning and losing certain aspects of maybe our landscape, or a tangibility of a place, I can maybe only visit once, and having to, like, find a way to hold on to that, or this very human desire to collect that in some kind of way. So yeah, I think about, you know, the computer’s inability to often like perfectly replicate that, but yet our kind of constant human desire to keep making tools and engaging with tools that get us closer to that. And I think as the world around us changes, that kind of like copying or duplicating or layering might become more important, as we like, start losing certain aspects, certainly of like nature or environment, or certain landscapes or those landscapes change. So yeah, I think, I think that’s why I’m so interested in it as like a complex and fragile system. But I think about it really, as this tool, that might be our only way of kind of like, fossil making a record keeping, it’s kind of like, you know, it’s like when the, when photography was invented, for the first time, this is a new form of photography in a lot of ways. And I think about what that means and how we capture and kind of replicate our environment and also share that in the future. Yeah.

Kimberly Thomas  7:29  

So aside from like, record keeping, and like historical type of, I don’t know, categorizing and things like that, do you feel that it’s, you know, as a human experiencing the world as it changes, like, the idea of attachment and the, like, the changing world is like how implied because everything changes, and like living in the past is a thing. You know, but in order to move forward, like things have to change. So do you feel like, at some point, maybe like, like, your idea about keeping things or being attached to things would, would would change for you too? Or do you? Like, is it necessary? It’s like, okay, this tree, it was like, it was, you know, a root and it grew into this, but the future, maybe more wonderful than, like, what is now feel in a way? Like, does that have any, like resonance with you? And your work?

Britt Ransom  8:41  

Yeah, that’s such a good… that’s such a good question. And I’m like, “Oh, you’ve caught a little bit of my like, misanthrope interior.” I mean, I certainly don’t think about these tools as things that like, maybe make something extend like forever or like, like, in a lot of ways, and I think about this the work that I made, like with certain trees, it’s like in a lot of ways these things aren’t meant to last forever and forever and ever they have a lifespan. And I do you think about our kind of, like, human desire to like, over, over protect or over save or over preserve certain things. I mean, there’s obviously a lot of historical insights and preservation that like, I mean, I desperately like want to keep but I think that’s such a good question about thinking about like, you know, kind of freeze framing something or this kind of like desire to hold it in this kind of moment. I’ve never really thought about like, my kind of feeling about it on the other on the other end of like that, like what this other side of this might be. I think I’m kind of I think about these tools and these processes in ways, usually always responding to something that like, we know is like slipping and we want to keep it but I think at the same time I’ve never really thought about this kind of way. Have thinking about it in the speculative sense of like, but what if it’s better beyond us keeping it? That’s a great a great question. And now something I feel like I’ll think about a lot. Yeah, didn’t really answer your question.

Kimberly Thomas  10:12  

It was just like a thing to think about, because I kind of think about that, I think in my work or in, you know, just in terms of like, being attached, or having, you know, what things don’t ever stay the way like the same, you know, like, that’s the only constant is change. And so, in some ways, I’m kind of like, I want this thing I want to hold on to this thing. And something is, like, you know, are very necessary that we need to think about our past in order to move forward. And then other times, I’m like, Well, what of, like, I’m holding on to this thing. But the next if I let go, like, this, other thing will be better if I changed the way I think, or I change this one thing, like about a project that I had this idea, and I was stuck to it. And then when I released that idea, I was able to move forward and like make the thing better, or I was able to solve the problem. And so you know, like thinking about, like, our work and everything, like how, like, you know, this transition like we’re like, are a lot of our work is about transitions and things like that. And so things are always going to change and constantly, like become new. And that is, I guess, maybe like, you know, things that we work on in our lives as humans, but also like in our practices. So you know, something that kind of like sparked in my mind when I like when you were talking.

Britt Ransom  11:51  

So Kim, you discussed how you mix your own colors, and you frequently push the boundaries of what glass can do. Whether that’s incorporating mixed materials like metal or making sculptures with moving parts, while making the fantastical inventions featured in your work. What is the importance of invention and fabrication in your practice? And how do they relate to each other,

Kimberly Thomas  12:15  

I feel like it’s something that just naturally happens. First of all, glass isn’t always the best material to make some of the things that I’m making. And I think that’s probably one of the driving forces, or it’s like, well, I’m going to make you the best material. For this, or I’m going to make this thing work. Like we were talking about the future, just now, there’s so many things that we haven’t really discovered, or that I haven’t done, maybe other people have, but um, are constantly learning and like figuring out ways to make your practice better, more efficient, you know, getting to like just always trying to, like get to that next level, the things that I want to do, I think I have to I have to push this material and just see what it can do. And then I like to experiment a lot. So or I was like, oh, I want this texture, I want this thing. And that’s where some of these other, you know, innovative techniques have have come from is just trying stuff. And then sometimes, like by accident, also that happens, which I think is like really fascinating. And like really fun. You’re like, oh, wow, like I just did this thing. And it’s beautiful. I didn’t mean to do that. It was totally an accident. You know, like, that’s always like very exciting to me. So I feel like I’m just naturally inquisitive. And I want to discover and you want to just go where these things can take me and so pushing kind of pushing anything to the limit to is like myself, you know, my work or like everything, I just want to kind of want to just I think that’s just like naturally my, my personality. Well I make these cloud writing contraptions and then like other type of inventions, and that’s just like, part of like being a human, I think is to come up with ways to make your life work or to figure out how to be a human in a lot of ways. Like that’s how humans got this farm was invented stuff and like making ways to do things better or more efficiently, or to make your life more comfortable. And then I guess the storytelling part of my practice is a lot about invention and fabrication. And so that kind of comes together and okay, I have the storyline. In a way Are these like, the stories that I want to tell and So that’s I mean, I don’t even know if I’m inventing them. I think that maybe they already they exist somewhere in this other plane. And then I’m interpreting them maybe. And more. I guess it’s like more accurate description of what’s really going on. And I think that’s how everything sort of blends together. It’s just, you know, I want to make these things and I want to tell these stories. And part of that is inventing ways to make those ideas relatable to the people that are going to see them.

EMILY LEACH  15:47  

I haven’t had the opportunity to buy a continuous melt furnace but I figured that… That I might ask someone who has had the pleasure of working with Wet Dog Glass, so I thought I would ask you, Helen.

HELEN LEE  15:47  

So, outside of my role as the director of GEEX, I’m the head of the glass department at UW-Madison. I first got here in 2014, and one of the very first things I sought out was to upgrade our furnace. I immediately got on Wet Dog’s radar. Eddie and his team came up and installed our 700 pound, continuous melt electric furnace.

HELEN LEE  15:47  

Our furnace has been the workhorse of our studio for roughly the past decade, and it’s still totally mint. It’s kind of phenomenal to realize that all of the hot work that’s come out of the UW Glass Lab over roughly the past decade has come from this furnace. The Shop Dog access and being able to look into the furnace remotely has really just alleviated, you know, a lot of concerns and granted a lot of peace of mind. I always tell people, like… “Oh, god. Having a furnace is like having a baby.” (laughing) But being able to look into the furnace from afar has been just like such a crucial and useful tool, and has also enabled a lot of delegation in terms of working with technicians and tech support and not having to feel like it’s all on my shoulders.

HELEN LEE  15:47  

They had also… (laughing) They had made a stop motion video of their install, and like snuck in a frame… It was like a sign that said “Hi, Helen!” or something like that. I got to look that up, it’s been a while. Their team was just so fun, and so swift and competent in terms of just like, rolling in here and having three days to assemble this, like, giant ass piece of complicated equipment. But it was really seamless and super fun to work with them.

EMILY LEACH  15:47  

Wet Dog Glass is your studio’s best friend. Learn more at wdg-us.com.

Britt Ransom  17:41  

Thinking about a line from Octavia Butler’s Parable of the Sower: “The world is full of painful stories. Sometimes it seems as though there aren’t any other kind. And yet I find myself thinking about how beautiful that glint of water was through the trees.” So is science fiction or speculative fiction, an important resource for you and your work? What authors or books have been important to you? Do you feel that dystopian readings of your work are accurate? Or are they missing something more complex?

Kimberly Thomas  18:14  

I didn’t know there was a name for what I was doing. I mean, I never thought about that, in a way until I spoke with Samantha DeTillio. And she was like she called it speculative futures. My God, like what are you talking about? So you know, when I was saying that, we just do things naturally, that and that that’s like, you know, you’re just like doing the thing that you do. So it’s just coming out in this way. And like not really, like analyzing it, I think in the same like, from an outside perspective, I was like just doing what I wanted to do. And that was more of my focus was like, Okay, you have this thing that you want to do. And if you’re going to do it, then you’re just gonna have to like let it flow. And let that like, let yourself be weird. Let it be like completely unusual. Do things that maybe you’ve never seen before. And that that was my focus at that point. I hadn’t thought about like, Oh, this is kind of like science fiction, or this is speculative, future or anything, I was just making stuff. And just like being like, I’m a storyteller and inventor, and that’s what I am. That’s what I do. And that’s what I’m gonna call myself. It’s really important. And you know what, um, and maybe in some ways, I don’t know if this is if the things are from the future. You know, or if it’s like, it’s not fiction, either. I think that they’re real. Oh, and I think that they exist in another dimension. And I guess for this 3d He earthly dimension, that these things would be considered fiction, or imaginary. But you know what, like, Leonardo da Vinci, he made five machines like so did they? I don’t know if they would really work I mean, I maybe they do and and other dimension like, that’s the thing. You know, like my nephew was saying, well there’s only one problem with this is that a cloud can’t suspend these like I was so sick you know what a plane flies, it’s all made of metal. So like white here, mine, you know, it’s like the science might be different for it. I don’t you know, this just I haven’t worked that part out. These are just like the things that I’m making. And I think that that’s what I like. And then again, like Octavia Butler, I haven’t I had ordered a book, but I haven’t read it yet. And it keeps on coming up. So I feel like right after this, I’m going to start reading a bunch of Octavia Butler. Do you feel that dystopian readings of your work are accurate? Am I reading this? Right? Do you feel that dystopian readings of your work are accurate? Are they missing something more complex? I think maybe it is missing something. Um, because I feel like that’s like we’re living in like dystopia right now, like this, you know, like, this is the beginning of the end, or it’s like the, the middle beginning of the end, in a lot of ways, like, look at the like, look what’s going on, like, look how the world is like people can’t afford to, like live in, you know, I feel like maybe it’s always been this way, but it’s becoming people are awakening more to what’s going on. Some people aren’t. But some people are, you know, and like, this is we’re living this is, you know, maybe this whole thing was supposed to always be sort of dystopian, and there’s always this destruction, and this cycle that we’re moving through, as you know, as humans. And so you know, like, what Octavia Butler saying, you know, they’re still they still find joy and living in this way. But this is kind of just what we’re used to. So you know, you it’s true there is like this, dystopian like that my work does talk about that a lot and everything. And, um, I feel like that’s an important part of it. But there’s maybe a balance in a way or a brighter future, but it’s not. In this on this world, it’s like in a different dimension or a different place. And maybe that is like here on Earth, but, you know, maybe not like maybe we’ll get through it. And find, I don’t know, that portal, but at the same time, I don’t know where I’m going with that. But, um, you know, like, it’s true. It’s like, that’s what my work is about. It’s like, I guess saving your yourself from the destruction or rebuilding, I guess they’re, like emerging.

Britt Ransom  23:32  

It’s interesting, the last part is like: “But I find myself thinking about how beautiful that glint of water was through the trees.” I think, a lot of ways when I think about like going on walks, or I think about these kinds of moments of inspiration for the studio, in contrast to the kind of way that we’re existing in the world as it is right now. I think a lot about that. It’s like if we lose sight of that, like moment of beauty, it sounds so cheesy to say it but like if we lose sight of being able to kind of reframe ourselves and look at the world through that lens, think it’s hard to kind of address or think through or work through a dystopia. I think you have to kind of like recognize these moments of like, when we are given something or we’re, you know, able to experience something that maybe takes us out of that dystopia for just a minute like, I both like want to hold on to it and also like use it as a way to be like, but look and like use that moment as a way to kind of like reframe, but like look at what we’re also doing kind of to ourselves or to each other. And I think about that a lot. I think like a lot of times like for me my studio practice is taking that glint of water and reframing it for us to think about and I think you’re doing that too in a lot of ways of like, you know, talking about this like but speculative kind of what if like, what if we existed in this world with this flying machine? What if I could take it and ride somewhere else in this I think it’s interesting how we’re both kind of doing that. I think someone asked me recently like if I’m really into science fiction, and I always think to myself inside, I’m like, no, like, I don’t like it’s so funny. I like don’t watch science fiction movies. I don’t read science fiction books, but it is a common kind of like theme or like a perception in my work. And I’m starting to pay attention to it a little bit more. I think in the sense that it’s been a like, genre that I’ve largely kind of rejected for no reason. Other than, like, it’s just not been something I’ve thought I’ve been drawn to, but I think actually I am. I think about the movie, like, maybe not so much in books, but in movies like Metropolis that like 19… Like, what is it? 1920? It’s like a 1927 movie of like thinking about this kind of world, I think about that, certainly in the way that like we exist now as this kind of large human machine. I also think about there’s this book that came out, and this isn’t maybe science fiction, but I feel like it it. It moves in and out of kind of like these science fiction. Suggestions, it was called Frankenstein’s cat. And it was about cyborgs that are here and that we live with now I think the author’s Emily anthesis. And like, it’s about how now we kind of even exist in this world, both as cyborgs and with cyborgs and like, I think about that a lot in terms of like the phone being this kind of like cyborg alien weird attachment to my body, even though it’s not quite literally attached, but I can’t seem to like detach, but I am. Yeah, and like, I think about you know, just all of us kind of all of these like augmented things for pets even like things to like feed them or be engaged with them when you’re away. Like, there’s all of these kinds of like new robotic systems and mapping our faces, our bodies, and all of these things that are definitely like science fiction, and I think speculative, new. And I do find that like, in a lot of ways, like… Yeah, part of our like new dystopia and a lot of ways I’m like, oh, but there’s like, really interesting ways that those things can be used to. Like, have you seen the movie, The Fifth Element? Okay, so like in that movie that like, I think about this a lot that like cockroach that goes across the desk, it has like a backpack on it. And like, now, it’s like, they use that same kind of model for like search and rescue and like earthquakes. And you know, so like, in the same way, I’m like, oh, there’s all of these ways that I think about like insects or bodies or like how these, like technologies meet bodies or kind of meet themselves in physical objects. And yeah, I think about that both as dystopian complicated. And at the same time, like, it’s, uh, there’s elements of it that are exciting and like, useful. But I do it’s interesting that like, this question of science fiction for both of us, because like, Yeah, I’m maybe projecting that like to non science fiction, per se fan. Yeah, kind of people that like read that often. It’s interesting how we’ve like kind of tapped into like, different elements of that.

Kimberly Thomas  28:23  

You know, somebody would say, “Oh, like this is… I’m going to do a science fiction thing and like, you would be perfect” and I’m like “You think this is fiction?” Like that’s so weird that you would say that because I’ve never thought of anything that I did a science fiction but then you know when I think about it, it was like a robots like robots are kind of like and then I didn’t you know, it was like I really liked the movie Terminator from when I was a kid and then the bionic man and you know just like you know more currently movies with you know, robots and you know, the mixture of humans and robots Oh an alien when you know she like Sigourney Weaver gets into that big like robot thing and is like fighting the aliens and stuff and knows like, I guess in a way I didn’t realize how much those things from like my childhood had influenced some stuff and I mean, I guess even like, making like you know, making flying machines is you know, I’m using like cloud technology to make them fly but there’s like a very I have for my work is very, like manual way. It’s like in my real life. I like you know, like the toaster that just pops up not like the dial thing, or you know, just like things that are you know, like rotary telephone is like, pretty easy to use, you know, like those are that’s how I feel in my head, but at the same time and kind of like No, like these things do. Like, we would not be able to do this right now if we weren’t on the, you know, the computer, you know, together. And so there’s this like huge influence, I guess of science fiction that maybe I was never, you know, like really, like hadn’t like really seen for myself. And then like after it was brought up to me I was like, “Oh, just like, you’re right, because I feel the same way about, like, I like it.” But I’m not like, ooh, science fiction, like, Let’s do science fiction today, or, you know, whatever, people who like science fiction say, um, you know, it’s like, it’s nice. It’s like, it’s pretty good. Yeah, but I wasn’t, I wouldn’t have you know, and I’ve read like, a few, like, science fiction books is like, you know, like a kid and stuff like that. But we’re novels, things like that. But I was never like, oh, let’s, like really delve into a lot of science fiction stuff. But, you know, I guess there is like this, kind of, like deep or, you know, correlation between our work and in science fiction. And I mean, I guess so. Because, like, you’re emerging from a bug caucus, in a way. So it’s like pretty science fictiony.

Kimberly Thomas  31:23  

But when I see I don’t like think, oh, science fiction, I think like, Britt’s emerging from this book, you know, in a very natural kind of way. Yeah. I guess I mean, I just maybe I just see it as like science. And like, that’s totally possible that you can do that. Like I believe it.

Britt Ransom  31:47  

I think my work is often commenting on our kind of like current dystopia. So like, I feel that that kind of reading is, to a certain extent, accurate. And then in other ways, I’m also kind of trying to, like moreso point to how we often are looking at systems that surround us and think about them as kind of like, gross or unnatural or things that like we don’t like, you know, thinking of something like an insect system. And it’s interesting to me that we kind of project this idea of like a gross mass, or even like, maybe a dystopian, like attitude towards something that already kind of exists with us. And I think, yeah, that the, in some work, like that kind of attitude of reading something as a comment on our current dystopia is accurate, in a lot of ways, and especially an earlier work kind of trying to use like a little bit of like a dark humor to kind of point to the fact that like, we’re kind of no different than this other world that we think is so gross. And, and a lot of ways we operate the same and in a lot of other ways, if we looked at it and spent five minutes learning from it, we maybe would operate a little bit differently, maybe more efficiently, maybe, you know, kind of wouldn’t be adding on layers to the kind of dystopia that we’re living in. So I think that that’s an accurate read, in some of like, especially my earlier work with my with, like thinking about, like insect systems as a metaphor for the way that we kind of operate or don’t operate sometimes.

Kimberly Thomas  33:28  

So can I just ask you about grossness?

Britt Ransom  33:31  

Yeah!

Kimberly Thomas  33:31  

And so like, you’d be like, literally, like, gross, like, yeah, we’re gross, like, gross right now. So that’s another thing that we really do have in common about our work because I would make, you know, I certain pipes, I would make back into a pipe making days, it’d be like, you know, there were vaginas, like tongs and mouths, and I wanted to make things that if it was actual, like, in not made of glass, like actual real, that you wouldn’t put your mouth on it. But it gets a pipe is it’s glass. So technically, it’s like relatively clean, depending you can put your mouth on it. And then I think about like, you know, how, how gross humans are and like, if so, like with the vagina pipe, so it was just like, you know, how like that like the feminine like body is considered disgusting, but at the same time, like, so desirable and so beautiful. And, you know, people were so offended by this vagina, and I was like, you know, you have a wife, Are you offended by her vagina? Like how, how horrible of you to say that about your wife, you know like about vaginas in general. You know, and but then sometimes I’m kind of like, like, there’s like certain aspects of things that there can be like just this, I guess like dichotomy, like the total opposite. Like, you know, humans are pretty disgusting. Like we’re, we’re absolutely hideous and just filthy in so many ways and then are you know how like pigs they’re considered like the filth like the filthy animal. You know, like, I don’t really eat a lot of work, but it’s very delicious. Like, it’s so good. You know, so like, this is like the differences between like, why something is disgusting, but at the same time, why is it so? Like wonderful? I mean, I don’t like bugs. I was talking about a caterpillar the other day that I had to suck up with a vacuum, but like, they’re not disgusting. Like, I don’t know why I’m afraid of it. It’s like, yeah, you know, like, they’re, they’re nice, they’re good. They’re good for the earth are good for the cheese, I guess are good for a lot of things. But at the same time, I’m like, here’s an like, socket with the vacuum. And so like, your whole idea of grossness, you know, like how, like, why? What is your you know, that’s just I think it’s interesting, you know, that you think about like the grossness of, of humans and their existence. And then can you just like talk a little bit about that?

Britt Ransom  36:27  

Yeah, definitely. Yeah, definitely. I think I mean, and also, like, I’m a part of this system. I think sometimes when I say that everyone’s like, Oh, I’m a fit, you think I’m gross? I’m like, I’m also to a part of this kind of system. I think about that, like not I think about that, like a certainly about us kind of like collectively, right? Like this kind of like collective behemoth system that’s kind of like crash coursing through the world, trying things and then realizing later, like, oh, we created a system. And we actually messed up this other one, like, yeah, I am really like that part of like, humaneness is like, so interesting to me. And I think so it’s so fascinating to me that we kind of attribute that kind of this idea of grossness to these other systems. And I think we do that. And again, like, I’m not a, I’m not a scientist, or like a philosopher, but I think we do that, because they’re systems that are unfamiliar, their bodies, quite literally, like bodies that are unfamiliar, that are nothing like ours. And so it’s, it’s interesting, this idea of like, gross SNESs of the system. And I often kind of think about things in reverse. Like, if I could ask a colony of ants what they think about me, it’s probably not that I’m like, a good system, or I’m part of a bigger thing. I’m probably part of this, like, terrifying kind of unit that comes and rearranges the earth or steps on them, or like, you know, I think the idea of grossness to me. And, uh, certainly, within my work has kind of been this space of like, I think being honest with like, how I think I operate in the world. And I think, trying to approach the rest of other systems that are non-human, in a sense of, like, instead of, like approaching them as a gross thing, thinking about the ways that like, our collective grossness can kind of inform one another. But yeah, I definitely, like, think about insects a lot. And like, kind of a collective aversion that most people have to them. And like, I’m definitely not averse to it. Like, there’s certain insects that I definitely don’t like, or like, I’m afraid of, like, I don’t like scorpions, or like a. So like, you know, they have a way of moving and doing things, it’s so unfamiliar to me. And like, that, I think, in a sense, is like, Whoa, I don’t understand your body mechanics. And I think that’s like, what a lot of ways like with these kinds of insects or systems, I don’t understand your mechanics. So that’s weird. And like, I think that’s a, that’s a kind of, like place that I land a lot with, like, thinking about this idea of like, collective gross nests or collective systems. Certainly in like materials, and, you know, making a lot of in a lot of ways that are like, totally the antithesis of a lot of what my work is talking about. It’s like the complete opposite of a process. But yeah, I think gross ness and like that word gross, or, like, you know, this idea of like squishing something, or, you know, I always asked it’s like, Are you like a squisher? Like a person that puts it under the carpet? Or are you the person that ignores it? It’s like, Are you the squish or the swatter or like the remover? And I think about that like about myself, like, what’s my agency in my system? Like, what kind of gross do I… what level of gross do I kind of operate in within this larger system, but it’s so interesting, I think when you kind of drip back this idea of like, ignore the insect or whatever it is for it’s like ways that it’s different from us. It’s like there is a certain kind of level in which we all land, I think that’s like, yeah, we’re all kind of the systems that are figuring it out. I think some have figured it out more efficiently than others.

Kimberly Thomas  40:19  

So oh, that’s another thing, because I see like, and your work that you might not understand this object or this thing, but you take initiative, and like, you have the desire to learn about it, which I think is a lot, which is different than like, maybe most people in the world who are like, Oh, it’s gross, like, Let’s kill it, you know, like, just get rid of it, or never think of it like the Ignore there, the squisher type of situation thought like that, I feel like, in order to, you know, it’s like, you have to learn about something in order to understand it, you know, in order to create that knowledge is, you know, it’s like, goes past like the, you know, okay, that level of grossness that, you know, to make, in order to make things not gross, I will try to understand it, or in order to make things like, not unfamiliar to me, I’m going to investigate. And so that was one thing that I was really interested in, in your work, too. You know, because like, I kind of feel that way, you know, in my work to where I’m like, oh, there’s these unknown things. And, you know, they may seem frightening or scary, or, you know, like the different facets of human nature, like how we have to kind of understand ourselves in order to be able to transcend in a lot of ways. And, you know, it’s like, in this way, like, these insects are disgusting, and it’s a whole nother world that we’re not really used to, and it’s, like, tiny and microscopic. And then in my work, I see like, you know, this, you know, the world that we can’t see. You know, in order to understand like, we’re kind of like doing like, like this deep dive into, like, different worlds and understanding, you know, like, the, like, not so shiny aspects of like our existence. So I thought that was very interesting to me.

MARK BOLICK  42:29  

Welcome back to the HIS Glassworks Cold Shop. We often get a question of: “What’s the best process for my glass?” “Where should I start?” “What’s the best grit to start with?” “What’s the best progression to take from a rough grind to a final polish?” Now the faster diamond discs go, the more efficient they are. They’ll grind things faster, and they’ll work faster. If you’re not used to a diamond disk yet, you may want to slow it down a little. So, let’s give this a try. (sounds of disk grinding) Now, that worked down pretty quickly. As a start, this is great! It didn’t take long, it flattened out the surface evenly.

EMILY LEACH  43:07  

Working with HIS Glassworks means working with experienced and knowledgeable glass artists. Their team has well over three decades of coldworking experience. If you want to learn more about how to use and maintain coldworking equipment, hisglassworks.com is an incredible resource. Check out their support section and browse their video library for even more guidance. HIS Glassworks understands that your work leaves, but your tools live with you. Sign up for their newsletter to receive educational information and be the first to find out about new products and upcoming sales. Learn more at hisglassworks.com.

Kimberly Thomas  43:40  

You both mentioned going on thought walks which made me think about how your practices balance research, intuition and observation. What do you learn from thought walks? How does what happens outside of the studio influence your studio practice?

Britt Ransom  43:56  

Yeah, those thought walks I feel like in a lot of ways are my studio practice, like I know the making aspect is obviously like where the work gets produced and happens. But like, for me without those walks, I’m not engaging with the worlds I’m then making work about. So those are often the basis of discovery for a system that I want to pick apart. So like the bark beetle pieces that I had been working on, for example, I was aware of them as a pest but the reason I got so interested in them was that I was on a hike in Kings Canyon and found like a chunk of trees that all were impacted by the same thing and like the scale of that the confrontation with my own body with that. Picking up something and not understanding a system and being totally mystified by that like, that’s just one example of like, I need those kinds of touch points outside of like the walls of mice. Studio to like, bring in that kind of thought process and picking apart to reconstruct work. So like that outside of the studio for me a lot of times is the studio I often like to complain that if I’ve actually spent too many days inside of the studio, like I’m not approaching my work the right way. I feel like, for me, I let sometimes like those moments in nature kind of guide what the next project will be. And then I’ll spend like years kind of, you know, picking that apart or learning it because I’m not a not a trained scientist, I am someone that is really interested in these systems, but doesn’t always understand them. And I think, like, for me, those walks are like an inquisitive starting point. And I guess, like, in a lot of ways I want my work to, like, take people on that walk with me sometimes, like, I hope that like my work kind of situation you like from a point of like, I went on this walk, and this is what I found. And like, now I’ve spent kind of this time re situating what I found for you on that walk in a lot of ways. Yeah, those walks are so important. I mean, obviously for the other reasons of being outside and like clearing one’s head and kind of like, you know, leaving that dystopia for a minute that we were just talking about, I think is important. But yeah, the walks are like, they are my studio practice, in a lot of ways, they are the starting point,

Kimberly Thomas  46:29  

I guess, like I’ve always, like, really liked just going, you know, for a walk, but I think it was kind of just, I don’t know, I want an exercise. And I wanted to, like be able to think and then I was starting to kind of study these ways to, like accelerate my brainwaves and have epiphanies and be able to think more deeply, just like develop cognizance, you know, and one of the ways to do that I thought was to go for walks. So I think I talked about it a little bit earlier was that think really hard about something and then you just don’t think about it or do something mundane, like wash dishes, take a shower or go for a walk, like, outside of the studio type of practice was very important for me, at the same time, because I would like the sky is very important. And like being able to see the sky and look at the clouds, and observe, you know, what the clouds are doing and how sometimes there’s no clouds. And sometimes there’s lots of clouds and all the different kinds of clouds and things like that. And then I’m, you know, looking at trees, looking at the grass, looking at people’s lawns, looking at things that are on the ground, you know, and then observing, you know, even like, not just walking but driving and like seeing all the trash that falls off of cars are like remnants of, you know, things that are left behind. You know, on the sidewalks like after I was in Detroit, there was a flood, all of the downtown area flooded. And then like the garbage that people put out after their basements had been destroyed, or their homes had been flooded, just like people what, what people leave behind, and what is out in the world or just trash that’s left or just you know, like an accident that had happened. My favorite Street in Detroit is called Mac Avenue. And I was driving home one night and a car had driven into a building. And it was just you know, things that are left behind, you know, in a lot of ways, which is actually one of the titles of a triptych I made. So like being able to observe all of those things, and that’s why going on walks was so important to me is not only to think about things and clear my mind and get messages and get information or receive information, it was a way to observe what was going on in the world. And like there’s a big difference between like driving and walking is because you’re driving you’re like, oh, you know, look at that thing. And but you can’t really look at it, like you know, when you’re with a person in the car, like okay, you describe the accident to me while I keep my eyes on the road. Like that’s, you know, like you can’t fully experience that. But when you’re walking, you know, I would like a favorite tree. And it was just like a juniper tree and it had these really big berries on it. And I wanted to climb the tree and scoop all of the berries out of it. And then I would look on the ground to see how many berries had fallen? It was on somebody’s property and I didn’t really want to catch up So I would never go onto it, but I would stay on there and look at it and admire it. And then trees that were closer to the sidewalk, I would pick their juniper berries. And like, rub like, like squeezed them and rub the Juniper smell all over me. So it’s, you know, there’s just very tactile, and very real, and you can experience the world better when you’re in it. And when you’re watching it, or, you know, outside of it, and, you know, I feel like that’s something that we lose, sometimes as artists, we’re in the studio, and we’re like, I have to make this thing and I become very focused, you know, like this, like, pinpoint focus, but there’s like, this whole world going on outside and like, you have to go out there and experience and if you, if you go on a walk, you know, you can, you can, you can see those things, and you can feel them and experience them and observe firsthand, but at the same time, like, you know, you choose your distance. So yeah, walks are, you know, they cover everything, like the research, the intuition, observation, like you can experience everything just in a walk.

Britt Ransom  51:27  

Yeah, definitely. Do you have a favorite? This is a, just a, like a personal question for me, like, Do you have a favorite time of day that you like to walk or that you like to? Like, do you have a duration or a time or like, a moment that you like, like to go do that?

Kimberly Thomas  51:43  

Um, when I’m in my routine, it’s kind of, like between 10am and 11. I guess like that kind of time where like, people are out and doing stuff. But you know what, I love walking. Sometimes. I’m scared to do this, like more in a city, I guess, like walking at night. Like when it’s really dark.

Britt Ransom  52:03  

That’s so interesting. Yeah. I told someone the other day, and they seemed horrified that I was like, oh, some of my favorite times to go walk is like midnight, and they were like, you go outside at midnight? And I was like, Yeah, I mean, yeah. I had a moment that I was like, Yeah, I mean, I guess as a woman, and in a city, like often not the easiest or smartest thing to do. But at the same time, I’m really interested in that kind of quiet newness. A certain amount of stillness at sunset, it’s sunset for me though. And so it was interesting when you’re like, 10/11… I’m like, I almost crave it at sunset time. There’s something about that like changeover of like daytime to nighttime guard of like, animals, insects, people, we’re all doing this kind of rotational thing. And I’m just like, like, mystified by that, like, moment of that change over and like, being able to visually see it. So I was curious if you had moments that were like, you know, like, felt right to you.

Kimberly Thomas  53:07  

I like walking, kind of anytime. Really, though. It was like that, but I feel like it’s location that makes the biggest difference for me, you know, I like walking in the woods, like, during the day because I’m afraid of being eaten by an animal at night. And but in the city? Yeah, it’s definitely like nighttime walking. And I liked the dangerous aspect of walking in the city alone as a woman. And at the same time, I don’t because I definitely witnessed some things that I didn’t really want to see. But um, yeah, I was just like, I want to, or in like a suburban neighborhood. Like, I like to look in people’s windows. Which is probably, like, I just feel like you can see it’s like an observation thing. It’s not like a creepy thing. Maybe a little bit. Sad. Yes, exactly. So, you know, and that’s why I always don’t have curtains up right now because I don’t have the little hanging things but I’m a curtains person, because I know how I am. And I’m like, Oh, what are they doing in there? Like type of situation but it’s like I’m just I’m curious you know, and I want to see what’s going on and and then you know, you get to a certain area of the city where there’s like, not that many lights and then you know, you can like listen for stuff or like you know, like what am I going to see or like what’s lurking or like a little raccoons like jumping out of a garbage can like it’s all like It’s like scent, the senses are so stimulated by like walking at a certain time, even like in I guess in the woods to where, you know, you hear something and you’re just like, oh, did you hear that? You know, like those, I like those moments where you’re like, did you hear, like, I can hear something, or I can I sat down, I saw something. Because, you know, those are, like, that’s, it’s just like really fun to like, it’s I mean, it’s like pretty mundane, I guess in a lot of ways, just to like, go for a walk, but I feel like it’s a really, like, big form of entertainment, you know, like, there’s just a lot can happen, a lot can happen on the walk.

Britt Ransom  55:28  

Yeah, definitely. Um, what do you consider to be the difference between seeing and listening? Like, how does that relate to the genesis of making your work?

Kimberly Thomas  55:46  

Seeing and listening are like, really big, big deals, to me, you know, as like, not just from the observation standpoint, and a, you know, like an earthly like, way of looking at it, but from a spiritual and material way of like, seeing and listening. And, like, I guess, in a lot of ways of hearing this spirit, I’m gonna say, for lack of a better way of expressing that, but I feel like a lot of my ideas, like not that they’re not mine, but ideas kind of exist in this other dimension. Okay. And if you open yourself up, you can funnel them or channel them into your, into your brain. And then like I was saying, Before, we translate these ideas into, you know, our interpretation, and like, we interpret these ideas and make them. I don’t even like know how to even explain it in a lot of ways. But you take these ideas and make them so that people can understand them. And so, that is a lot of how my practice works and is like, I have these ideas, but I have to translate them into a way of being able to share them with the world. So as an example, the cloud writing contraptions, I, you know, they’re a mechanism or a vehicle to escape, I guess the earthly realm, or just the desires or these like facets of human nature that are not really, you know, that wonderful, I guess simple things that we experience, even like, even like the wonderful things because they feel like the other side, or other dimensions are just completely different. And like, more livable, in a way, as humans, but I started making these cloud ready contraptions and then for some reason, I kept on running into the number 1212. And I get it sometimes and I’m just like, Why do I like to read this deeply into things? Like is it really necessary? Anyway, it was, because I went down this rabbit hole investigating the numbers 1212 And it relates to the Merkabah which is the light body, you know, like you have this aura sign or it’s a light body. And with this part of your spirit, you can travel to different dimensions, and to other timelines, you can travel through time. And like, that’s your spirit, and it’s not just like going to another it’s like really traveling through time and like really traveling to different dimensions. And that’s how I saw these cloud writing contraptions. So you know, like, that’s my interpretation of this Merkabah was transforming this kind of ethereal existence or your light body these like spiritual ideas that nobody can actually see like you some people can see them, like… Yeah, some people can like you can see or you can feel like that person’s life body or their spiritual vibrations. And in order to make these ideas very accessible to humans and to people so that they can understand them and translate them into a flying machine where you can travel to other dimensions, and through time, and through portals, and things like that. And that sounds very “science-fictiony”. And that’s why I say I don’t see it as fiction, I think it’s real, because it is real. And I’ve definitely experienced it in other ways that I have. I don’t think we have even enough time to talk about it today. But you know, like being able to travel to two different worlds. It sounds like, like, it’s not real, like it’s fiction, but it is very, very possible. And you can do that, if, you know, you are attuned to it, if you want to, you know. So that’s how I see “seeing and listening.” It’s not just like observation of this, like the real world that we’re living in. It’s also an observation of the spirit world, or just this other non physical dimension that humans are a part of.

Britt Ransom  1:01:14  

So interesting, I thought about this question… I thought about it in a really literal sense of like, seeing and listening. And it’s interesting to hear you talk about it in this kind of space that goes beyond what we are like, quite literally seeing and feeling and experiencing right now, right in this moment, something that’s tangible. I think, for me, I was thinking about seeing and listening. And I had a moment of like thinking about that as a question of like, the difference between the two. And while I definitely understand the quite like, literal, like physical differences of how we see. And listen, I also think about them as being reflexive of each other, or even almost the same. Like, to me, they’re two things that kind of, at least in my practice, and in my work, like, I think it’s obvious to say, but they operate together. And for me, like listening, like deeply listening, going to an environment and shutting everything off. And quite literally just hearing it, or touching it or looking at it, but like, in terms of like listening to it. I feel like that’s the moment where like, in a spiritual sense, I’m unlocked into another world. It’s a world that I don’t know. And this is the first kind of moment of me immersing myself in it, and trying to kind of pick it apart and understand it. Who’s there? Like, that’s the question that I’m always asking myself, I’m listening to something. And I’m like, Who is that? What is that? Why is that? And I think the same thing in terms of like, seeing like, picking something up that’s like, not a part of my world, or my studio or my home? And looking at it and being like, who made this? How did this end up here? Like, what is this? Why did something eat this or break it or those kind of moments for me are like, I think those are like the kind of like Genesis moments for me in my in my practice, but like, I often use sound as like an agent in my installations to kind of like, try and take you back to that place that I was. Or maybe experiencing like, maybe I had an experience that was like otherworldly. And can I transport you there through like, the way I listen to that environment? Is that possible? And like I’m not someone who thinks about it, I don’t consider myself a sound by artists by any stretch. But I do love the presence of sound in combination with kind of like, how I’ve picked apart an environment and trying to kind of, I’m not trying to recreate that environment for someone else. But I want them to maybe just have the same entry point that I did into that space, so that maybe when they visit a different environment, instead of like, our normal kind of human way of trying to consume everything that they might maybe for a minute, put on blinders and like, listen to it first, then see it next then put those things together. But yeah, it’s interesting to think about, especially this idea of traveling to another world in a spiritual sense. I feel like we both do that in our practice. Or at least like hold those kinds of moments in like a really high and kind of special regard in our practice that kind of like emotional travel and metaphysical travel somewhere else. Yes.

Kimberly Thomas  1:04:33  

Yeah, yeah, that was a thing because I was like, I noticed about your work. It was like we’re both trying to like to transport people into another environment. And then for one of your works, I guess the termites you wanted everybody to get down and like, so I do that in my work too. When we were hanging or you know, just like with the miniatures, and like having We all have these like things going on, I want you, the viewer to, like, be close to it, you know, like don’t, don’t touch it at all, it’s very fragile. But I want you to, like you said, like the same entry point, it’s where, you know, you can focus and like the portal, like go through that portal, so that you can, you know, your experience in that world can be completely different, your entry point is the same and your experience can be whatever your experience is, it it can, is, but there is a certain way I want you to be to see the work. And then, you know, just like I was saying, all the senses are all stimulated. And so that’s what another thing that I liked about your was the sound, light, you know, the visual part of it. And I was thinking about how the senses are stimulated in both of our works, I don’t have sound, even light with your work. But there are those things that I do want to incorporate and smell because I also make incense, and I wanted to make, you know, things that had smoke, or things that, you know, I wanted to incorporate light also for lightning, and things like that. And so I really liked how you had incorporated a lot of the different senses. And I feel like, as humans, like we lose, you know, because we’re like, focused on watching our computer or watching TV or, you know, like, we use the senses, but I don’t think they’re like being used to their full capacity. So, through now, there’s dogs running by like, I don’t know what’s going on here. But there’s like these, like, you know, like using the senses in a way. But like concentrated in a mean, and like really, like highly focused. So that and like maybe using more than one at the same time. Because I feel like, you know, with glass, you have to use your senses, like you’re constantly watching, focusing, like, you know, you have to hear stuff. And then I guess, you know, like, well in ceramics, there was only like, if you smell like reduction, you knew your kiln like you had to like pump that oxygen out. And then there’s reduction and oxidation in glass as well. But you have to just kind of, like use your intuition and use your senses. And it kind of goes beyond just like the UX seeing smelling touch, you know, those like our human senses, and it like goes past into like a more intuitive, you know, Claire audience and Claire, you know, like understanding what’s going on because with glass and because with like, some of these materials that we’re using, things are happening, like you can’t see them. And they call it intuitive science, or it’s like, I know that something’s I don’t quite know, exactly, and I can’t see that it’s happening. But I know all of these molecules are moving and doing stuff and like heat and, you know, like, it’s, it’s changing, everything is changing. And like, you know, you’re using a computer like, you know, you can’t, like physically see, like, you can physically see what’s happening. But it’s like happening inside the computer, I guess. And like I like I don’t I don’t understand, like how that happens. So like, to me that’s kind of intuitive. Like maybe it’s more scientific in a lot of ways. But you know, like, it just involves the senses and like knowing that things are happening without actually like seeing them, but, you know, understanding those things. So that was another thing that I really enjoyed about your talk and how you connected the sense is to like the end product of your work, and it’s just very multifaceted and multidimensional.

Britt Ransom  1:09:23  

Yeah, yeah. I think in a lot of ways, you said something earlier about how we are all kind of like we’re using our senses all the time. But I think what we’re both doing is like, asking people to tune them more often. Like, I think we’re like asking people to kind of like either tune things out of tune back in in a way that’s like, whether that’s through like, quite literally like listening or seeing or scale or like, you know, kind of confusing scale in ways that like makes you retune how you look at space or how you listen to a space or you realize I haven’t been listening to the space I’m in for a while. Time, you know, or at all, I actually haven’t thought about that. I think we’re both. I think what’s really interesting about both of our practices is that like, Yeah, I think we’re asking people to like, recalibrate or tune those forms of seeing and listening in different ways. Absolutely.

Kimberly Thomas  1:10:17  

Okay, but are you ready for this? Okay, I’m gonna ask you, I’m gonna ask you a question. How has storytelling and autobiography entered into your recent work? And can you talk about new and current directions in your studio practice?

Britt Ransom  1:10:36  

Yeah, definitely. Yeah, I feel like for the first like, decade plus, in my work, I definitely haven’t been making necessarily work from a place that’s like autobiographical, maybe a certain amount of storytelling, but like not in the sense that I’m starting to kind of move now. So now, I think, you know, I started working on a project with my family. I’m from Ohio. I talked about this in my lecture that we started working on renovating a National Historic Landmark that used to belong to my great great grandparents. And it’s significant, like Civil Rights and Activist site in a place that I think we often kind of don’t associate with that movement, or even that like the time period, this is like pre-50s, and 60s kind of work. And so when I agreed to start working on this project, my family I realized, like, I mean, not that I didn’t think about it, but like the real seriousness of like, reinventing a space, both in a place that I don’t live all the time. And also for a community that like I, again, don’t live in all the time. So like, I’ve been thinking about, you know, that history and like what that means for me in terms of like that being a part of my history, and like thinking about that autobiographically. And so my work has shifted to a place right now of kind of, wow, we’re in the middle of renovating this really large site, like how do I then kind of still tell the story without the site being there to necessarily kind of activate the story. So I’ve been turning in recent work to kind of using my sculptural practice and materials sensibilities to like take elements of that site and bring them places with me not dissimilar from the ways I’ve been working with like, nature, or bugs or trees. And at first, I was like, Whoa, this is very different from the way I’ve been working. But in reality, a lot of it has been still about like, sensibilities of sight. What is important about this site that I’m trying to communicate to you? What story am I trying to tell about this site? I think in this case, it’s a little bit more literal, it’s historical, it is autobiographical. I think my other work has been more about speculative storytelling about a site or a system. But now it’s kind of definitely entered into like a more kind of factual historical re storytelling. And that’s been an interesting kind of jump. In my practice, I’ll be honest, like, it’s been a little bit uncomfortable only because I’ve been in a way of working that speculative has kind of been the main focus. And now I’m moving in a way where accuracy is actually like a really key aspect of making work in my practice now. So like, Yeah, I’m responding to a site still by using scanners and photographs and technology to kind of recreate elements of it. But I’m now kind of moving away, at least for this specific body of work, I’m moving away from things that are less speculative, and things that are more historically true and accurate. So yeah, that’s been like a new direction and kind of a current space that I’m, like, entangled with in my studio practice. It’s both exciting. And similarly, like, frustrating when you’re trying something new and like working in a new way for the first time. But feels also, you know, it feels a little scary to be vulnerable about your own story, like, in your own family story. So there’s some interesting aspects of it, but that’s kind of where I am in my work. But I’m curious, like how storytelling and autobiographical, like ways of thinking and making kind of are working in your practice right now?

Kimberly Thomas  1:14:19  

Well, yeah, that was when you were talking about the vulnerability. I experienced that also. Because a lot of you know, my storytelling, like I talked about the Merkabah just now and like these weird, like deep dives into numbers or like personal experiences. You know, I just basically talk about that in my work, but kind of, in some ways removed myself. But I was just at first like when I was saying, like, I was just doing what was coming naturally, and I had to allow myself to be weird and let things on fold as they were going to, and that is difficult to do when it’s, you know, the highly personal, highly autobiographical. And like telling these stories of lists like this journey of awakening, I are transitioning or becoming like, aware of certain aspects of myself, I mean that I knew were there, but I didn’t, um, you know, like, I, I would never talk about them to anybody, because, like I said, I don’t want to sound like a total crazy person. And then I came to terms with, I’m just going to sound how I sound. And if I do sound like a crazy person, then you’re not my people. So, you know, like, that was like that vulnerability that you were just talking about, like, so definitely something that I have felt. And also with accuracy, as, like, I know that this like, a lot of the things that I talk about in my work are not that you can’t, there’s no way to, like really be accurate, I guess, in a way because they’re like, channeled messages from the universe are another dimension. So, but my accuracy in translating them and making them real for the viewer is a big thing. And so, I mean, I feel like my work is autobiographical in a lot of ways, but it’s also just about, um, like human nature. And so like translating that accuracy, as well. And like, maybe not everybody feels this way, or not everybody is that way. But that is an aspect of human nature that I am trying to explain, and that I’m interested in. So like, just, it’s like a huge part. And then I guess, like, moving forward with my work. I wanted to work larger, and not always with class and maybe remove glass completely from some projects. But I’m, I’m in love with glass, like I could never ever leave glass, like we are married we are together for the rest of our I hope so like, well never say never, but I door, so many different things about glass, and I just want to learn and do as much as I can with it. So I feel like that will always be a part. But um, I love other stuff too. Like, you know, we have this, like, we’re not exclusive, but we’re really in love, you know, like we really love each other. But we have a freedom, like we’re allowing each other to just like to do and explore everything that we need to in our lives. So I’m definitely going to try to work in the hot shop. And then I just want to make a large scale model I, I see the ones in glass as models of an actual thing. So I’m going to start making other inventions and other flying contraptions but big enough that I could actually write them. So moving forward, and then I don’t know, I like to leave space for just like, everything moving forward. So that’s my direction. And I just started this residency. So I feel like the world is my oyster. And there’s like, there’s like a bunch of different pearls. And they’re not just one, it’s like an oyster filled with, like, and like different colored pearls to like pink ones. Yellow and everything. So I’m just really, I feel like it’s just important to leave space for just who knows what could happen, you know, as always, like, really important. And just because of like, you know, the nature, I guess, like both of our works like basically anything, you could go literally in any direction. And it still seems totally normal. And it would just be like yeah, Brett’s totally doing this like thing and it’s weird. That would be completely normal. You know? Yeah, so I feel like me, the same, like, you know, on that same spectrum, as like, I’m just gonna leave that space to do whatever’s whatever’s coming like whatever, like my brain or whatever message gets translated and you know, I just want to like make sure that I can I can do that and fulfill that, I guess need or that fill that void.

EMILY LEACH  1:20:00  

Hey, producer Emily here. As we were wrapping up, I asked Britt: have you been thinking about glass and glass practices differently after participating in GEEX Talks? Do you have any interest in working with glass in the near future? This is what she had to say.

Britt Ransom  1:20:15  

Well, I’m here in Pittsburgh. And so that’s been a real shift. And just like learning, like, literally, like the history of material in the city, as we all know, is so interesting. And so integral to the way things like, especially like manufactured things, I think about like glass bottles and steel and like, I’m in this like, new place of like, you know, there’s a rich material history here. And certainly in like ways, very literal ways, like in looking at, like, for example, reconstructing a historic site I’ve been looking at, like the way the glass like it has stained glass windows, like the way that has changed or like thinking about these, like, ways of like, can we rebuild, those are like an I mean, I know I can’t, like I know, it’s possible, but I’m like, but, you know, in what ways and with what technology now, and like, I’m kind of interested in like these ways that maybe some of the ways I use technology and the way that class functions could kind of meet in the future. I’m now working with students here that like, I have a student right now that just did a residency at Pittsburgh Law Center. And that like radically changed her practice. I mean, there’s a person making installation work and video work, who then took projection, mapping and glass and put those things together in a way that is like, and steel welding that I’ve never seen before. And so I feel like I’m being exposed to glass now in a way that hasn’t always been present. And I think that has a lot to do with where I’m living now. And like, I’m really interested in it as a material that, like, it’s a kind of forever fluid material. I’m interested in the impermanence of it. And the same aspects of like, a lot of these like digital processes that I’m using things like, in a lot of ways, like also not having a certain permanence or permeability. I’m interested in the spaces where those things could meet. So I haven’t started with it yet, but I’m getting very curious. And I’m starting to see it intertwine in ways that I just haven’t really thought about before. And I think that’s really exciting.

Kimberly Thomas  1:22:15  

Yeah, yeah. I like that. Well, I love that spirit glass center. I did a residency there. And I feel like it’s cool. change everything about my Yeah. Perception, and everything. And yeah, really speak to all of these. I mean, it’s just like a combination of the people and the atmosphere. You know that. So yeah, I feel like Yeah, hang out. With Spirit glass center, you’ll definitely have some sort of transformative experience.

Britt Ransom  1:22:44  

They’re like, they’re doubling its size right now. Because they’re, they’re like, it’s huge. I drive by it every day on my way home. Yeah. And I used to live around the corner from it. So like it’s been, I’m really excited for them to reopen. But it really has been, I’ve talked to so many artists in Pittsburgh that are not glass artists, per se, but have all had different interactions or classes or moments that they’ve liked, gone there to explore something in their practice in a new material. And it’s I haven’t seen anyone come out of there, that’s not been super excited by like, the way that interacting with glass changed their perspective of like material or approach in their work. And like, yeah, that to me is something that’s really I mean, I think you can say that about any material. But yeah, I think there’s something about it as like a Yeah, as a process as like a non glass make, like a person not making a glass. I do think that there’s something that feels Yeah, like you just are going into this world in which like what you were describing earlier that there’s a you know what’s going on, but you don’t always have full control or mass. And that’s what we’re all doing in our studios all the time. Yeah. And that’s super exciting. And kind of interesting to me. And I also think someone has a site like that. It’s like I’m interested in curiosity and science. It’s such a, like, scientific way of operating. Yeah, making and thinking, and a process that relies on that. And that, to me, is the most exciting maybe, yeah, act of it like that as a possibility. Yeah, it’s really interesting to me.

Kimberly Thomas  1:24:22  

Yeah, I’m really excited to see what you do with glass, because I just feel like the way you think and your perspective on things is like, it’s not backwards, but it’s like, maybe, like, rotated in a way. You know, it’s like, kind of so, you know, and then there’s like, so many opportunities to think of glass in that way, too, especially from the scientific angle. And then just like all of like, classes, really for nerds. And I just like calling you a nerd, but I’m calling you a nerd and I feel like I’m a nerd. Yeah, it is like the nerds shall the world and take over. Yeah, and so I just feel like it would be perfect for you. And so many ways just like in terms like scientific glass or like 3d printed glass or just thinking about or making things in a way that you wouldn’t normally make them. And, like, that’s what I love about glasses like I love nerding out on like, kind of a scientific visor is just like so highly technical, even if you’d make things that aren’t like, they don’t look like it’s like I made like, you know, a couple of things in like, some ways they don’t really look technical, but it’s like, you know, what I had to do to get to this point, it was like, Yeah, and just like, even fabricating, in, in flameworking, where it’s like, you think about how to make something, I always like, go over the steps and like, kind of act them out. And then I’m thinking about where to put this flow tube and then like changing my axis. And then like, I was talking about, like, one of my friends I think it’s just like ones and zeros and stuff that’s in his brain. Like, I kind of feel like that was your brain to like, in my brain, I have like these like diagrams and then like, okay, it’s like, Okay, gotta turn it this way. And then like, rotate it that way. And then like, you have to, like angle your flame here in order to make this, like, see, like, you know, there’s all these like, different ways to do it. And it’s like, okay, if I keep this thing hot here, then, you know, like, so like, you can do so much and like, I can just like see you working that way or like figuring out things that way. And, like the whole nerd aspect of working with glass is just so perfect for you because… I don’t really like know you all that well, but I can tell that you’re a nerd and you’re gonna love it.

Britt Ransom  1:26:54  

I like drive by it every day. And I’m like: soon.

Kimberly Thomas  1:26:59  

Exactly, like, I’m so excited. Like I you know, I did this residency at Pittsburgh Glass Center, and they’re like, we’re gonna expand and I was like, “Oh, my God, this is gonna be unbelievable!” Yeah. So I can’t like I really… I can’t wait to go back and see their expansion and like, we’re here and be a part of it and everything. And yeah, maybe like, hopefully it will be there at the same time together.

Britt Ransom  1:27:21  

Yeah. Yeah, I’ll be here. Yeah.

EMILY LEACH  1:27:27  

This has been another episode of the GEEX Talks Q&A Podcast. I’m Emily Leach. I’m one part of the GEEX team, along with Ben Orozco and Helen Lee. This episode followed Kimberly Thomas’ and Brit Ransom’s respective GEEX Talks lectures in Spring 2024. The GEEX crew received questions from our audience, whittled them down to a short list, and then shared them with the speakers as a framework for their discussion. We’ve included the full list of questions in the show notes, so check them out to see how your thoughts influenced the conversation.

EMILY LEACH  1:28:01  

To learn more about these artists, follow Kimberly Thomas @iroczii (that’s I-R-O-C-Z-I-I) and Britt Ransom @brittransom_studio on Instagram. Many thanks to our sponsors for this episode, His Glassworks and Wet Dog Glass!

EMILY LEACH  1:28:22  

His Glassworks manufactures and supplies quality coldworking tools for the glass art industry. Based in Asheville, North Carolina, their team has well over three decades of coldworking experience. HIS Glassworks understands that your work leaves, but your tools live with you. To learn more, visit their website at hisglassworks.com.

EMILY LEACH  1:28:47  

In business since 1996, Wet Dog Glass delivers unsurpassed value and turnkey hot glass studio equipment, studio planning and consultation, and technical support. Wet Dog Glass: your studio’s best friend. Visit their website at https://www.wdg-us.com/.

EMILY LEACH  1:29:04  

You can listen to all of our podcast episodes and watch all four seasons of the GEEX Talks lecture series on our website. If you haven’t subscribed to GEEX Talks yet, there’s a three-month public access period — visit the GEEX Glass YouTube channel to listen and enjoy these lectures before they enter the GEEX Talks Archive. Learn more about subscribing to GEEX Talks on our website: geex.glass/support.

EMILY LEACH  1:29:27  

For a limited time, the GEEX Shop is offering a graduation bundle for a yearlong subscription to GEEX Talks and exclusive merch. If you’re looking for a gift for someone graduating from a BFA or MFA program, this is a great way to help them stay connected to the glass community after academia.

EMILY LEACH  1:29:51  

That’s over 30 hours of content on contemporary glass artists and researchers in addition to the upcoming season of GEEX Talks. Available now through June 2024! Learn more at geex.glass/shop. For updates on GEEX, sign up for our newsletter! You can also follow us @geexglass on Instagram, Facebook, and Twitter. If you enjoyed this episode, rate and review the GEEX Talks Q&A Podcast on your preferred podcasting platform!

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Selected questions from the audience:

• INTRO: Can you talk about your general impressions of each other’s practices? What did you learn from listening to each other’s lectures?
• INVENTION & FABRICATION (PUSHING MATERIALS TO THEIR LIMITS): 
  • Britt mentioned that 3D-modeling doesn’t necessarily “want” to scan or copy something as fragile and complex as the work you produce. Why is pushing the limit of 3D-printing and other computer-aided tools an important part of your practice?
  • Kim discussed how she mixes her own colors and you frequently push the boundaries of what glass can do — whether that’s incorporating mixed materials like metal or making sculptures with moving parts — while making the fantastical inventions featured in your work. What is the importance of invention and fabrication in your practice, and how do they relate to each other?
• SCI FI, SPECULATIVE FICTION & CYBORGS: Thinking of a line from Octavia Butler’s Parable of the Sower:
  “The world is full of painful stories. Sometimes it seems as though there aren’t any other kind, and yet I found myself thinking how beautiful that glint of water was through the trees.”
  Is science fiction or speculative fiction an important resource for you and your work? What authors or books have been important to you? Do you feel that dystopian readings of your work are accurate or are they missing something more complex?
• SCALE SHIFT (MICRO, MINIATURE, & HUMAN-SCALE): Britt shifts the microscopic to human-scale, and Kim does the inverse by replicating human-scale objects in miniature. Can you talk about the significance of scale in your work?
• THOUGHT WALKS: RESEARCH, INTUITION, AND OBSERVATION: You both mentioned going on “thought walks,” which made me think about how your practices balance research, intuition, and observation. What do you learn from thought walks? How does what happens “outside of the studio” influence your studio practice?
• SEEING VS DEEP LISTENING: What do you consider to be the difference between seeing and listening? How does that relate to the genesis and making of your work?
• CURRENT/NEW DIRECTIONS: How has storytelling and autobiography entered into your recent work? Can you talk about new and current directions in your studio practice?

Thanks to educators and learners from the University of Wisconsin-Madison for sharing questions! Learn how to become a Subscriber here.

Theme music by Poddington Bear. Additional music in this episode by Otis McDonald.

Edited and produced by Emily Leach and Ben Orozco.