Blue Ridge Country - November/December 2019 - 47

to design the blank," she explains. "Keeping in mind that glass wants to be a particular thickness to behave right, the first
firing in the kiln will fuse the pieces into
one. For smooth surfaces, the glass will
be heated to a molten temperature; and
for texture, lower temperatures achieve a
tack fuse. Also, certain colors under really
high temperatures can create new colors;
and sometimes colors interact with each
other. To encourage some of this, adjustments in the kiln, like oxygen levels, can
pull different metals in the glass to the
surface - changing the colors."
Once the blank has cooled, shaping
can begin. "The piece is put over a form
(to either sink into or lay over), and the
second firing gives it dimension. It's just
enough heat, which I call the 'slumping temperature,' that allows the glass
to slowly move around or into the mold.
You can never be completely sure what
you'll get. You can't go back and change
it. So you have to enjoy surprises," Adams
says with a smile. "Glass firing is a very
careful process of heating up and controlled cooling (annealing). Too quickly
and you end up with stressed glass.
"The cold working (techniques that
happen after pieces are cold) can take up
to two hours to complete." Adams says,
"This is where you get the opportunity
to set yourself apart as an artist. It takes

patience and time; and some people find
that this part is quite 'Zen.'"
When she's not in the workshop (in
a horse barn with her veterinarian husband atop a north Georgia mountain
with views for miles), this glass artist
is participating in art fairs, shows, and
teaching a program she created for a
girls' summer camp. "We have a lampwork and fusion studio where sixth
grade through high school girls can learn
glasswork. Several have come for years.
They have such a connection with it that
some of these girls do absolutely magical
things. I very often hear the students say,
'Did you see what that glass did?!' Their
joy is my biggest reward as an artist."
Adams is available for teaching at her
workshop.
Looking ahead: "I'm very excited to
learn screen printing on glass at the John
C. Campbell Folk School" (where Adams
has taught on a fairly regular basis). "I've
always taken pictures of patterns, like
when we go scuba diving and when our
horse Gypsy was out in the rain-she
had the sweetest curly hair. And, I think
this technique will be perfect for using
those patterns."
Breaking news! Adams is working on a
new wholesale line of kiln-formed pieces
that will be available in gift shops and
galleries.

LEFT: Kimberley Adams, glass artist,
proudly holds the book she wrote about
glass beadmaking-a definitive guide
that is a respected source on the subject.
BELOW, CLOCKWISE FROM
TOP: A collection of Kimberley's
lampwork beads, each a one-of-a-kind
creation from the mind of the artist.
Useful fused glass items are increasing
in popularity, and are also one-of-a-kind
creations, as seen here in her workshop
display in Tiger, Georgia.
Plates, platters, and other tableware
pieces are made to be used and enjoyed
according to Adams.

NOVEMBER/DECEMBER 2019

Blue Ridge Country - November/December 2019

Table of Contents for the Digital Edition of Blue Ridge Country - November/December 2019