Glass Blowing
Weaving the Traditions of Glass Art

—You seem to hold many workshops.

When I first returned from Italy, I thought the most important thing was to convey the Italian traditions I had learned. As I mentioned earlier, I started building my own studio soon after returning, and I worked tirelessly, putting in all sorts of effort to stabilize it.
I was living in a trailer, making things together during the day, living a life like a hippie commune, so I didn't need to spend much money. Therefore, if I had even a little money, I would try to do something.
At one point, I invited a cold-working artisan I had worked with in Italy to help set up our cold-working studio and teach me this non-heated technique. He came twice; half the time was for educational purposes to impart techniques, and the other half was for him to enjoy California. He lives in Venice, so he has a culture of water, but here we have big waves, a different kind of water culture. I enjoyed showing him California.
Then, I invited a master craftsman of footed cups. He came with his wife for two weeks, and we made a lot of traditional Italian goblets in my studio during that time. I also contacted universities with glass programs around here and invited students who were interested to come and see. That was fun too. Master Pino, whom I studied under in Italy, also visited twice and worked in my studio.

Sorry, sorry, I got distracted. What were we talking about? About Italy...

—You were talking about inviting masters.

Yes, he came and worked on glassmaking in my studio. When this happens, I always encourage people who might be interested in glass to come and observe. I try to share as much information as possible. Two years ago, I organized a major event at my studio called the 'Unification Project.' The idea was to bring together glassblowers from the area, schools with glass programs, people interested in glass, glass collectors, and so on, all in one place, with demonstrations. It was essentially an attempt to connect people with shared interests. There are many glassblowers around here, but many of them just have a small setup in their backyard where they create. So, through opportunities like this, I hoped to foster various networks. Everyone here is a glassblower, sharing the same passion. We had about 1,000 attendees, and my studio was packed. I invited a glass artist from New York who does performance art, and we created four distinct molded pieces using molten glass, which was another interesting approach. It was fascinating to show people a completely different perspective on the material of glass. It was a good time.

The more I blow glass, the more I realize how much I don't know. While I've gained confidence in my techniques, I still feel the path ahead is long. When I first started making glass, I never imagined I'd come this far. So, I always keep a distance and ask myself, 'Am I ready to teach others yet?' I don't know when that time will be, but every day, I strive to create with the awareness of whether I am ready to teach the techniques I learned in Italy to other glassblowers.

The day at the studio starts at 8 AM. Since the equipment takes at least an hour to reach the necessary temperature, someone has to come in early and start the fire to reach 2000 degrees Fahrenheit (about 1100 degrees Celsius) before work begins. First, there's the early morning shift, and then my two-person color team, who handle all the coloring. Once that's handed over, I gather and blow the main glass. We continue this process throughout the day until the end of work at 4:30 PM, completing as many pieces as possible. For larger works, for example, each one takes time, so I can only make about eight a day.

—With Gogo (daughter Margo's nickname) around now, do you try to take weekends off?

Yes, yes. In the beginning, I worked non-stop, day and night, weekends included, without thinking about the days of the week. Weekends held no meaning back then. But I soon realized that rest is necessary, simply to clear my mind. And I also realized it's essential for inspiration. I want to cherish the inspiration I gain just by spending time in nature. So, now, as much as possible, I do that. I try to use weekends to spend time with my family.

Caleb Siemon

Born in Southern California in 1975. Growing up in an environment surrounded by creativity, he helped his father in the jewelry industry from his teens, designing and developing an interest in ceramics. He enrolled at RISD in 1993. He studied glass art in various parts of the world, including the United States, New Zealand, Japan, and Scotland. He then moved to Murano Island, Italy, where he studied under Pino Signoretto for two years, absorbing the centuries-old traditions of glass craftsmanship. In 1999, he established his own studio, 'UNITED GLASS BLOWING,' in Southern California. He currently works on his creations in Santa Ana.