Name/Title
"Phantom of the Opera"Entry/Object ID
2004.3.2Description
Woven Glass that is White, Purple, and black stripped
A native of southern Oregon, Carole Perry works out of her desert studio in Cave Creek, Arizona. A number of years ago, Perry set aside a successful career in computers to pursue her passion for glass full time.
"I ran after the executive brass ring for 20 years before admitting it could never hold the same sparkle as the art glass I'd been collecting for almost as many years. My idols were Chihuly, Marquis and Brock rather than lacocco or Watson.
While I enjoyed every day of my 20+ years with IBM and Xerox, nothing could prepare me for the sheer joy of creating a piece of glass sculpture. Finding my own way, without any set procedures, has felt like the equivalent of discovering the New World. Learning to live off my own feedback, with no measuring stick beyond my own personal standards, has been the most rewarding experience of my life. I would conform to any lifestyle necessary to continue this passion."
The Work
Glass Tapestries are the result of a life-long rebellion against the dreaded "DO NOT TOUCH" rules regarding glass when we were children. A large part of my passion for glass is the real need to touch each piece that captures my heart.
The common perception that glass is cold and fragile is reinforced by that frequent admonition, and I feel my mission is to teach the warm and soothing properties of glass.
The surprise explosion of color and texture in my work allows me to capture someone's eye; then lead them into a need for tactile reinforcement almost immediately. It is a heady experience to know that each time someone reaches out to touch a glass tapestry, I have knocked on his or her soul with my work.
A piece begins with the cane (glass threads), cut and "woven" on the kiln shelf. At least 9 layers deep today, it requires more than 5000 threads to complete one sculpture. The piece is then heated slowly to near 1500°.
When the piece has "struck", the glass is briefly removed from the kiln, hand manipulated into its final shape. The absence of a mold and the very limited time available (15 seconds or less) to shape ensures each sculpture is unique, impossible to exactly duplicate. Each piece is signed and numbered on a signature plate hidden underneath.Collection
Suomynona Glass Collection, Suomynona CollectionAcquisition
Accession
2004.3Source or Donor
Suomynona Glass CollectionAcquisition Method
DonationOther Name
Phantom of the OperaLocation
Location
* Untyped Location
Mentzer Hall, MH-17Category
PermanentMoved By
Ian CunninghamDate
August 5, 2022Location
Drawer
MiddleShelf
Top tier, Top tierWall
Center SouthBuilding
Freida L. Smith HallCategory
PermanentMoved By
Scott LonganDate
October 9, 2009Location
Cabinet
Case # 59Wall
WestHallway
Discovery HallBuilding
Crater Rock MuseumCategory
Permanent
