mrissa: (ohhh.)
Here are the promised paperweight pictures from my glassblowing experience. Thanks to [livejournal.com profile] timprov for the photography. I cut because I care, and because I haven't used the image embedding function on lj in a long time if ever and am not sure how it'll size.

oooh shiny )
mrissa: (ohhh.)
So yesterday I went and had my first glassblowing experience.

It had initially come with this immensely complicated plan, wherein [livejournal.com profile] timprov would come with me and take pictures if he saw opportunities for good ones, and [livejournal.com profile] markgritter would drive up and meet us when he was done with work, and we would all meet up with some other friends for dinner. None of that happened. It would not have worked in the slightest. [livejournal.com profile] timprov taking pictures would have been okay if he saw opportunities--I never know, part of the reason I enjoy his photography is that I don't try to dictate his eye--but the bits that involved trying to coordinate stuff after or me going places or eating things after--that would totally not have worked, so I'm glad it all fell through. Because I had basically enough Mris left to get home and decompress and...yeah. Focus adrenaline wow. Stuff. Stuff.

There is all kinds of stuff about glassblowing that is so not clear from observing it. The form of this thing was that the guy teaching me did a paperweight while telling me what he was doing at each step, and then I did one with him assisting me, reminding me if I'd forgotten anything, there to jump in and smack me if I started to do anything abjectly stupid, etc. (No smacking needed. But y'know.) And there were things that seemed like they would be clear from being four inches away that were not.

One of the things--he estimated that the furnace with the molten glass in it was at 2400 F (about 1300 for those of you playing along in the Celsius version of the home game) and the one we used to heat up the glass when it was cooling down was at 2000 F (more like 1100 C). And if you had asked me, I would have told you that those temperatures had differences in physical effects, in which things annealed or etc., but that in terms of human experience, they were roughly the same temperature, that is to say, Really Damn Hot.

And no. Seriously no. The one was Really Damn Hot But Copable. The other was Seriously Frightening Hot. Brace Yourself And Give Yourself A Pep Talk Hot. The difference between standing four inches away from the person who is dipping the metal rod into glass that is that kind of hot and being the person who is doing it really matters quite a bit, it turns out. My instructor, when he was doing the stage where he was doing stuff and telling me what, was overtly and vocally quite relieved to be dealing with a former physicist, so that he knew he could just say things like "angular momentum" and be fine, he didn't have to gauge my knowledge there. And I said, "Well, we'll see if I can actually put that into action," and he said, "But everybody has that problem. So now there's just one problem instead of two problems." Fair enough.

Do you know what tool you use to shape a glass paperweight into the pleasant roundness that it has? Folded over wet newspaper. And your hand. Without gloves. Just your hand. That part? That was my favorite part. That part was seriously awesome. I also liked the bit where I got to use shears and jacks and things to just mess with the glass I'd just colored, to make the swirly bit that would soon go in the middle. But the bit where you say, okay, now I will do this with my hand and a pad of newspaper, oop, better wet down the newspaper. And there are sparks flying onto your shirt because you are shaping molten glass with your hand and some wet newspaper. That was pretty cool.

One of the really hard things is that all of my safety instincts from years of vertigo say that anything even remotely dangerous should be pointed downwards. Molten glass flows. Molten glass is not any safer pointed downwards, and it's not good for the shape of it. So that's a thing I will have to see if I can cope with, or else...not, I guess. But it was a thing the instructor helped me with yesterday, and my paperweight--we'll see when I pick it up--it was still annealing when I left, had to anneal for many hours. But I think it turned out all right for a beginner piece.

I will not be doing this again soon. It took a lot out of me. I have stuff on the calendar for tomorrow, but if it was stuff for which I needed to do much other than sit under a blanket on the couch, it would be getting canceled. Last night when I was still letting the adrenaline wear off, I wrote that I thought it was mostly adrenaline really, not really energy use. And that was wildly optimistic. I am whumped. But. It was a thing I did, and I liked it, and I think I will do it again. Just not soon or often. It was never going to be soon or often. The question was whether it was going to be at all. I think maybe it will be at all. I think yes.

The mobility disability stuff my aunt mentioned is not a thing they apparently do often. I am now on their mailing list, so if they decide to do it again, I will jump at that chance. Otherwise I will have to figure out times when I can block out time and, more to the point, want to block out time, for just a little. And as I said: maybe not soon or often, but I think yes. They teach you to do amphorae, you see. Cones and bowls and cylinders and paperweights, all early on, but also in the early on things: amphorae. Hee. They would. If I was having not too much of dizzy days and gave them money and found enough energy and showed up. They would help me learn to make a glass amphora, and it would be mine that I made. Not this year. But some year. It would maybe be clear or maybe have some blue in it, I am not sure. But it would be my amphora that I dipped into the fiery furnace and made, like this ball will be my ball. And I cannot fully explain why that is a thing. Cones and cylinders are fine. But bowls and amphorae. Um. Well, we all have things we can't explain.

So take that, universe.
mrissa: (japanese garden with amber)
I remember being a tiny kid and being fascinated with glassblowing. My parents and grands did "normal American" vacations like Disneyland and Mt. Rushmore (I had to stop and think and edit that to make it actually normal, honestly), but we also did all kinds of total nerd vacations that were, frankly, way better. And this had results like me sitting in the back seat of a Buick cutting out paper doll replicas of Colonial American fashions when I was 5 (I still love that dark green overdress) and watching glassblowing demonstrations and going, "Oooh...I want to do that." I don't know how old I was when I fixated on the glassblowing. I definitely remember being pretty thoroughly caught by 8 or 9, but it might well have been before that.

And when I was 8 or 9, my dad told me not to worry--and it might still have been true at the time, and it was certainly true when my dad was in college--that when I got to college and took chem courses, I would automatically get taught glassblowing, at least the lab basics, and then I could figure out if I liked it and wanted to do the art part more as a hobby. It would be part of the lab sequence pretty early on, so I wouldn't even have to be a chem major, I'd just have to take some chem classes, which was a pretty safe assumption, we agreed. This course description was true for him. By the time I got to college, it was not at all true. Not only was it not early in the lab sequence, it wasn't available at all. Not to senior majors. Not to anybody. No glassblowing. Nor was my college atypical in this.

Fie, I said, but I had a lot going on, so I kept yearning silently and petting glass when it was not socially unacceptable to do so. And then I got out of college and still had a lot going on.

And then when we were no longer graduate students and maybe started to get ourselves together and could start to think of it, the vertigo struck. And I said all sorts of other words than fie. Because: hot molten glass, vertigo, what could possibly go wrong with that? So I thought, yah, I had better get this vertigo thing under control before I think about even looking for where I might start doing a beginner class in this glassblowing thing! Because really! I mean! What kind of a fool! Etc.! And so I didn't even talk about it much really. Because again: really! I mean! What kind of a fool! Etc.! The other night I was out for coffee with a friend who was talking about someone doing something implausible, and I blurted out, "Yes, and I'm going to dance with the Ballet Russe," and it felt about like that. After the Ballet Russe I'll take up glassblowing.

Except I actually wanted the glassblowing. Not as a career. Just, y'know. People are allowed to have hobbies. (Seriously, fellow writers! Sometimes this comes as news to us because writing starts kind of like that for a lot of people with day jobs and then is so not like that. But hobbies. People are.)

Fast forward to the present. Where: this vertigo thing. Is it under control? Ha ha ha, she laughed hollowly, like fun it is. ("Ohhhh," say several of you sadly, who were hoping that this was that triumphant post. No. It is not that triumphant post. It is a different triumphant post.)

Except...I don't really like that mode where there's a thing you want and you just sit and want it. I don't like that mode at all. So I was looking online. And there are these people up in the city. And they do this thing, where for not very many of my American dollars, I can go do a session with a master glassblowing type artist person, one-on-one, and this person can have my limitations explained and will be there and can answer my ten million questions. So I can be there and feel the feels and smell the smells. And see what I can do safely and what I can't do safely. And then ask the ten million more questions I didn't know to ask before I was smelling the smells. And we can see if there's a way for me to make it safe to take it farther than this one-on-one session, either with more sessions or with classes.

And.

Then I brought this up on the phone with my best-aunt. (I have a lot of great-aunts. Some of them are really quite good. This one is the greatest-aunt. Therefore she is my best-aunt.) She also loves glass. It's the Smålander in her maybe. Anyway. I knew she would understand and be excited for me, so I called to tell her. And it turns out she knows these people at this glass studio that do this thing I am doing. And she says they sometimes have done classes for people with mobility disabilities. And maybe they will be doing a class like that in the future, or maybe they will just know enough from past classes to be able to adjust stuff for me and be able to tell me what to do and how to do it so that I can do the actual learning, not just the single one-on-one hand-holding session and be safe.

So at least once. And maybe several times. But definitely at least once. Molten glass and me. Without everything having to be fixed with the vertigo. Without everything having to be okay. Just--this thing that I want. I get to actually do it. It isn't the Ballet Russe, it's actually paid for and it's just down to calling and getting it on the actual calendar, right next to friends' birthdays and dentist appointments. Because it's a real thing.

I am kind of overwhelmed about this. I am really pretty excited. I had gotten pretty used to the concept of no. And yes is a pretty big door to open, even though I'm not planning to rearrange my life around spending hours every week in the glass studio. Something is so much more than nothing. Yes is so much more than no.

I'll let you know how it goes.

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