Interview with nivenglassoriginals

My name is Florence Niven. My husband and I are both Graphic Designers. Nine years ago I decided to bite the bullet and work full time as a glass artist. It is one of the best decisions I have ever made, and one that I have never, even for a minute, regretted.

What is your professional backgound?

I was trained as a Graphic Designer and have always had a home studio. I worked for years as a freelance designer, and as a greeting card illustrator. I also organized and ran art workshops in various area schools in an Artist in the Classroom program that I set up. My professional objective has always been to be able to be a stay at home Mom for our two boys, while being as creative as I could possibly be.
And to NOT work for someone else.

What made you start working with glass and when?

Nine years ago my husband suggested that with my background in design and experience as an illustrator, I would probably really like working with glass. He was right! The piece that I made during my first class was the last piece that I made using someone else's pattern.

Does your glass inspiration come from someplace special in your life?

My sister and I were raised in a very creative environment. My mother would sit with us on rainy days and present us with a basket of odds and ends - scraps of pretty paper, ribbons, bows, pipe cleaners etc - and we would all 'create' something. I learned that amazing things can be created from the ordinary. I am inspired everyday to be creative - it's just who I am.

How would you describe glass?

I love glass. Glass never ceases to amaze and mesmerize me. That's not a 'description' to people who don't work with glass. But those of you who do will understand.

Is your studio all you want it to be?

Not quite. I have two studios. I have the traditional design studio that I've had for years - drafting table, shelves, large window. This is where I design my patterns and do my paperwork. Much of my time these days is spent producing large framed panels so I really need the drafting table and the wide open space.
In my glass studio I have a long table for messy work - cutting and grinding the glass. Vertical shelving underneath, smaller-than-I-would-like window. I have an ancient baby kiln that I use for prototypes and a large floor kiln. I also have an ongoing love/ hate relationship with a glass saw.
In this same area is another table where I finish my jewelry and do the detail work.
My ideal studio would have far better lighting and I wouldn't be 'sharing' space with Christmas storage and gardening supplies.

Do you prefer music or quiet when you are working on your craft?

I prefer background music - I cannot work when it is too quiet. I always listen to a favorite radio station and have been known to take a break if a really cool song comes on - to put my tools down and bop around the studio. Perks of working alone and having no teenagers in the house to roll their eyes at me.

If you have a really bad glass day, what comforts you?

Sometimes I just go for a walk. It really clears my head. I can figure out the solution to the problem - see it with fresh eyes when I go back to it.
And chocolate helps.

If you have a really good glass day, do you celebrate?

A really good day is when I don't cut myself too badly, I haven't stepped on a sliver of glass, and things haven't shifted in the kiln. Actually most days are really good glass days now that I feel like I finally know what I'm doing. Seeing the end result that I'm pleased with is celebration enough.
And chocolate helps.

The best part of working with glass?

It's pretty immediate. If you've made a mistake you know it right away for the most part. When things are going really well, you know that right away too.

What is the worse part of working with glass?

I don't think a person ever gets used to slivers.

Can we have a few words of wisdom from you please?!

Create! Love what you do! If the path that you're on isn't allowing you to be as creative as you want to be, take another path!

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