Current work by Jeremy Sinkus includes his Contemporary Art Nodules, inspired by collecting and focusing on the top 10 attributes that the artist and viewers found intriguing about glass objects. Simultaneously ancient and from the future, his Nodules combine texture and form with transparent windows that allow the viewer to explore unknown inner worlds. A former mineral collector and digger, Sinkus put down his chisel and picked up a torch when he realized his fondness for minerals and natural history was all encompassed in glass.
Sinkus says: “Glass is geological. The material bit me hard in the late ‘90s and opened a future of infinite expression for my fascinations of the subterranean world. I constantly dream about finding objects beneath the surface of either the sea or the earth – the feeling of finding something exceptional and spirit engaging. Maybe that is what spending all this time in the studio is? Digging, searching, revealing important concepts from deep inside myself. Intentional forms should be both something to recognize and something to ponder or be awakened by.”
Sinkus now works out of a 2400-square-foot studio in Shelburne Falls, Massachusetts. It is entirely powered by a waterfall on the nearby Deerfield River and functions as a green energy studio. He uses flameworking, metal fuming/deposition, cold working (lapidary), welding, woodworking, laminating and casting techniques to manipulate the glass daily.
“Minerals have always captivated me with their color, clarity, and infinite geometric permutations. Of all the images, objects and art I have seen, still it is these natural crystalline forms that strike me. They express something enormous that is otherwise almost impossible to voice. Akin to the felt language underlying a resonant piece of art, minerals speak precisely of their making. They require no interpretation. I am fascinated by the sheer fact of their existence and circumstantial nature of their variety. Human participation was absent but nonetheless, I wanted to be part of it.”
The opportunity to experiment with hot glass came in 1998 at a studio in central Massachusetts. The roaring furnaces, smell of burning bees wax and graceful movements impacted Sinkus. He admired the team aspect of glass blowing but needed a more independent approach to satisfy his ambition. In 1998, he began flameworking borosilicate glass as an obtainable approach to working glass on his own. He studied with Milon Townsend, Sally Prasch and Emilio Santini as he developed a body of work inspired by scuba diving, ocean conservation and ocean arts and evolved into a professional working artist.
In 2015, Sinkus began his journey in cast glass, studying with Daniel Clayman. This allowed him to apply the techniques necessary to make more authentic and precise mineral designs and increase the scale of his designs. The use of familiar tools and techniques for working stone from his gem cutting years connected him to glass sculpting.
Sinkus says: “These tools allow me to venture into the deep process and experience of what made the mineral world so appealing to me creatively. Cast glass has taught me patience and channels a version of a 100,000,000 year geological process. This body of work gives me human participation in a form that would otherwise only be a geological event. My geological designs have reconnected me to the gem and mineral world. Though realistic, they are seen as art. In the art world they are seen as contemporary.”
In 2025, Sinkus will have an exhibit of his recent works at the Sandwich Glass Museum in Sandwich, Massachusetts, and launch his new designs at a couple of U.S. galleries. He’s also designing a class that combines casting, flameworking, coldworking, surfacing and adhesives in the creation of glass art sculpture.
From his Micromorphisms to his Opticals and Pinwheels, Dan Alexander explores the mesmerizing world of optical illusions, where intricate designs and mind-bending patterns come to life in stunning glass artistry. From captivating sculptures to breathtaking installations, each piece in this collection is a testament to his artistry and craftsmanship.
Much of Alexander’s inspiration comes from photographs he has taken or his travels. Looking at one micro-aspect of an object, he envisions how that small segment could be used in repetition to create an overall pattern. An example would be looking at one single coral in the ocean and repeating its colors and shape over and over again to make a large glass tile. By rolling that glass tile up hot around a glass bubble or collar, he makes a large vessel. The artist uses the blown glass process to create a three-dimensional canvas on which his murrine and patterns can be displayed.
Says Alexander: “The work I am currently exploring is inspired by nature, textiles, travel, and architecture – more specifically patterns therein. Being an artist and world traveler, I look at the world around me and try to determine how it could be translated to glass.”
Having grown up in a small farming town in northeast Ohio, Alexander has always been interested in art, history, nature, and creating. Upon seeing glass being made for the first time at Hale Farm and Village, Bath, Ohio, he knew this was a trade he had to master. He received his BFA in glass from Kent State University, where he was able to explore glass as an artistic medium while being introduced to working with other materials, history, color theory, and composition.
Following graduation, Alexander studied with some of the top glass artists in the field today and worked in Murano, Italy, with Maestro Davide Salvadore creating large scale blown glass art. Later, he worked for the Corning Museum of Glass as lead gaffer, where he spent six years traveling the world and educating the public about the science and history of glass art. Eventually Alexander decided to take on a new role as the studio director of Third Degree glass factory, St. Louis, Missouri, producing higher volume work, site specific installations, and overseeing studio operations and glass production.
In 2016, Alexander began to branch out and create a name for himself as an independent artist. In recent years he was awarded an emerging artist residency at Duncan McClellan’s Gallery in St. Petersburg Florida, the AACG professional artist residency at GoggleWorks Center for the Arts in Reading, Pennsylvania, and Empire of Glass exhibition/residency in Vienna, Austria. He was nominated for the Glass Art Society’s Saxe Emerging Artist Award and received an international exhibiting artist award from the Effect, Dream, Transform exhibition in Uskudar, Turkiye.
Alexander is currently building a private studio and 501C3 nonprofit in St. Petersburg, Florida, called Art, Education, Gathering Inc. or AEG. Its tagline is: From Glass to Growth – Building Communities Together. AEG will offer community outreach, using glass as a form of STEM education, residencies, mentorships, classes and an emergency program for artists affected by disaster.
Says Alexander: “Education is an extremely important aspect. If the public wasn’t interested in art, many mediums would suffer. The more knowledge we can share with the public, the more sales, donations, and funding will be put into the arts.”