Carolyn and Anthony Green who had a vision, a dream, and determination to create a unique and classy jewelry company founded Flame Work Designs in 2005.
Flame Work's main designers Carolyn and Anthony work exclusively designing the glasswork individually creating each piece of glass from start to finish with perfection and assembles all of their jewelry in their home studio in Victoria, BC.
Flame Work Designs Carolyn and Anthony are inspired by their customers and continue to appreciate all the support and enthusiasm they receive. They strive to provide women with that added touch of flair that gives them confidence and the compliments they deserve.
With each new line, Flame Work Designs reinvents itself, adopting the latest styles and setting new trends. Customers have come to count on Flame Work Designs as a company dedicated to creating jewelry that is enjoyable, affordable, and compliment guaranteed!
They begin the process of Lamp-working by fusing rods of glass around a tool called a mandrel in front of a heat intensive flame of 2000ºF. Each bead is individually created one at a time to ensure quality. Maintaining a hot enough temperature at all times is crucial when creating a bead. If the bead is held away from the flame for more than fifteen seconds the glass can shatter.
Once you start a bead you must give it 100% of your attention until you have completed your creation. Every bead is carefully sculpted freehand to ensure that each bead is unique and individual. All of our work is kiln annealed and carefully cooled down over several hours.
Annealing is the process of slowly lowering the temperature surrounding the piece so that it doesn't stress the glass and cause fracturing. This process, although very time consuming, is a very important step to assuring that you will receive the highest quality piece.
Dichroic Glass Jewelry By Peggy Brackett Of Kiln Art Glass Studio
My glass jewellery starts out as large 18 x 18 sheets of opaque, transparent and dichroic glass which I cut, piece and layer to create designs which I fuse (melt) together in an electric kiln at about 1500 degrees F.
After the sheet is fused and slow cooled, I re-cut, grind and drill the pieces. All of the drilling and grindings is done under water with special diamond bit tools. Then I return these pieces to the kiln and re-fuse them.
I make many of my own findings, e.g pendant bails, necklace extensions, fancy ear wires etc. I also use commercial high-quality findings such as basic ear wires.
The findings I use are chosen or created to be an element of the overall design of the piece, but are intended mostly to showcase the glass-work. All of the designs are my own. Kiln art Dichroic (Die-crow-ik) glass is glass that has a very fine layer (about 3 microns) of metal fused to its surface.
Different metals in different combinations create the beautiful colours that you see. I also use glass stringers (‘vermicelli’ shaped/sized glass), glass powders, metal foils and surface manipulation of the dichro etc to augment my designs.
Patsy writes, "I turn stories into metal. Making jewellery allows me to transform life's amazing moments into wearable art pieces. Using contemporary techniques in the ancient art of enamelling I get to explore colour, pattern, and love stories through intricate metalwork".
"My inspiration is all around me - the vibrant colours of blooming flowers, the detailed patterns on a swatch of fabric, and that moment when your breath escapes you because you see something you love".
"My absolute favourite thing to do is to be at my bench designing and making jewellery with my two hands. I am invested in the art of handmade, and in adding beauty to this world"
"My jewellery work is heavily focused on pattern and colour. In 2012 I was invited to do a 2-month artist residency in Renkum, Holland".
"Since then my work has been very influenced by the bright colours of the gardens that bloomed outside of my workbench and the sea of jewel tones that captivated me when I biked through the tulip fields. I use a process of silk-screening to get the detailed patterns onto my pieces with enamels".
"Silk screening is usually a technique used in textile work and has taken me great patience, practice, and time to perfect in metal work. In the spring of 2014, I was the Touchstone Center for Crafts scholarship recipient, which allowed me to attend a 3-day workshop at Touchstone on Imagery in Metalwork".
"It was there that I learnt how to use decals in my enamel work and have since been able to combine vintage floral decals with my ornate silk-screened patterns. My copper line is also inspired by my time in Europe. I fell in love with all of the rusty metal and red brick architecture".
"I use my favourite hammers to get the texture onto the copper and a process of heating and quenching the metal to achieve one of a kind colours".
Patsy’s lovely work may be found at;
Side Street Studio. http://www.sidestreetstudio.com/collections/patsy-kay-kolesar-design
A week ago I was talking over a cup of excellent Canterbury Coffee with John, the husband of Honica. I asked him if Honica would consider writing a short piece relating to her designs, her inspiration and basically how ‘Honica goes about creating her beautiful jewelry’.