I use three kinds of beads, principly, in my stringing: glass, metal and stone. In most cases the metal beads serve as accenting (as opposed to accents—accents are a focal point, in most stringers’ vocabularies; accenting returns to the word's original meaning, closer to a touch or a bit of something to liven the whole) and the stone and/or glass made up the bulk of the work.

At one time I planned to make focal pieces out of metal, but a thoughtless burglar smashed up the window I was using for ventilation so badly that after my spouse repaired it I could no longer open it; and that was more or less the end of my metalworking career. At that time I was utterly opposed to working in the basement.

However, a friend dragged me, kicking and screaming (well okay: by letting me take her workshops in exchange for room, board and some trivial paperwork) into glass. Glass actually seduced me to the point where I considered the basement (nowhere else to set up a hood, and the fire-resistance of cinderblock walls and concrete floors, as opposed to sheetrock and wood) acceptable, if not ideal.

Of course, now there's precious metal clay, which I understand can be combined with glass. And fired in a kiln. And combined with all those metalworking techniques. Hmmmm....

Work by Peggy Prielozny

Unless otherwise noted, text, image and objects depicted therein copyright 1996--present sylvus tarn.