Kari Russell-Pool: Flameworking Glass Heirlooms
Primarily a flameworker, Kari Russell-Pool approaches her work in a painterly fashion. She is interested in the transformation of an object into an heirloom. Made from hand-pulled glass rods, her Safety Mom Series, for example, was inspired by post-September 11 ideas of keeping a family safe. That series, in incongruously cheerful colors, is dominated by images of guns and keys, and the delicate glasswork is patterned to look like traditional needlework, which kept women’s hands busy in the 18th and 19th centuries. For her Trophy Series, Russell-Pool flameworked a strikingly delicate and extremely fragile set of trophies, inspired by an NPR interview with a trophy maker, who stated that frequently people commission trophies for themselves.
In complex and decorative glass aviaries, Russell-Pool often showcases her husband and collaborative partner Marc Petrovic’s glass birds, a combination that is at once technically superlative and aesthetically enchanting. Her most recent collaborative series with Petrovic – Our Distilled Life Series – examines the individual amidst the complexity of societal and global challenges and distillates them into a series of vignettes within bottles.
Russell-Pool states: “I communicate using objects as metaphors. From quilts and teapots, to sailors’ valentines and cages, I am interested in the stories objects tell and how we elevate them into heirlooms. Filled with personal content and commentary about society, the hard work of relationships, and my experience as a mom, my work tells many stories. The work is autobiographical, and although objects are my vehicle, I think of them as self portraits as each series reflects the timely concerns of my life.”
Russell-Pool graduated from the Cleveland Institute of Art in 1990. She has taught and exhibited all over the world, and her work has been published in Glass Magazine and American Craft Magazine. Her public collections include the American Glass Museum, the Baltimore Museum of Art, the Cincinnati Art Museum, the Corning Museum of Glass, the Niijima Museum of Glass (Tokyo), the Racine Art Museum, the Seattle Art Museum, the Smithsonian Museum of American Art (DC), the Tacoma Museum of Glass, the Tucson Museum of Art, and the Peabody Essex Museum. Russell-Pool was awarded the Ohio Arts Council Individual Excellence Award in 2017 and 2019.
Pulling her own glass rods or canes using soft glass or traditional blowing glass, Russell-Pool can more easily incorporate blown work by Petrovic into her pieces. They gather clear glass from their melting furnace and color it by rolling the hot clear glass through powdered colored glass, and then encasing the color in another thin layer of clear. These gathers of glass are pulled into 40′ lengths while still hot, and then cut down into 1.5′ lengths. Coloring her glass this way allows Russell-Pool to both mix colors and control their densities. She uses these colored glass canes in a torch flame to sculpt petals, leaves, and small components, which she further colors using more glass powders. Having some color in the base canes allows the artist to work much as a watercolorist would, using washes to achieve subtle or dramatic color changes. Each piece begins with a design drawn out on a piece of ¼-inch clear plate glass. Russell-Pool then bends all her glass canes exactly to that pattern using a torch with a warm flame.
“By layering the color and manipulating the density, our hope is the flow between the blown and flameworked glass appears effortless. In glass there is often a right way to do things. I am more a proponent of the cowboy way. The cowboy way invites invention and serves the master of the final result rather than proper technique. I am proud to be called a craftsman, because craftsmanship underlies all I do, even if I am occasionally caught being an artist.”
Russell-Pool and Petrovic have collaborative work on view now as part of the Jonathan Adler Show at the Museum of Art and Design in New York City featuring Adler’s ceramic work and pieces curated from the permanent collection. The show will run through April 2026. Rusell-Pool’s work is also being exhibited in On Fire Part II: Surveying Women in Glass in the Late-Twentieth Century now through January 24, 2026 at Racine Art Museum, Racine, WI. An expanded version of the 2022 show offers a deeper dive into this vital period in contemporary craft by outlining the concerns of artists who explore the sculptural, visual, metaphorical, and creative potential of glass. Seen through the eyes of women, it reflects developments with the medium as an art material two and three decades after Studio Glass concepts were being implemented into university programs and contemporary practices.
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