Maker Stories

Ricky Giacco’s Eco-Conscious Concrete Creations

April 4, 2014

An avid container gardener and all-around horticulture-lover, Ricky Giacco founded NativeCast in 2010 to create and sell his handcrafted concrete “functional sculpture” while following environmentally responsible business practices. His “green concrete” is amazingly light, yet strong, and made mostly of recycled materials.

Giacco’s uniquely creative planters come from an illustrious family tree. The Roman Colosseum, the Hoover Dam, the Panama Canal, and this adorable Cupcake Planter are all made of concrete, the most widely-used building material in the world.

The production of concrete uses much less energy than other building materials, such as steel, aluminum, glass and wood. But it’s not carbon-neutral, and we Earthlings use 19 billion tons of it a year. That adds up. In fact, about 7 percent of human carbon emissions comes from concrete manufacture. So at UncommonGoods, we’re big fans of Ricky’s innovative, ecologically sound concrete, which he makes from scratch in Chadds Ford, PA.

You could call Giacco a concrete mixologist. He concocts new recipes using ingredients native to his region. But unless you enjoy the taste of seashells, pine cones, and crushed, reclaimed roadway rock, you won’t want to drink these cocktails. Your plants will love drinking from them, though; concrete makes a great planting environment. Because it’s porous, it allows air and moisture to move into plants’ root structure; and it maintains a more stable soil temperature throughout the year, compared to plastic or metals.

NativeCast is a family affair: Giacco is its creative head, his father handles most of the business end, his wife works on trade shows, his mother works in the production studio once a week, and Giacco says each member of his “rather large” family “helps out in one way or another.”

We wanted to know more about every aspect of his business, and he graciously allowed us to indulge our curiosity.

You “design” not only your objects, but the material they’re made of. Does that give you a special satisfaction?
Designing the material I work with is very cool, and I am happy with the results I am getting. There is satisfaction in knowing that my customers also enjoy what I’m doing. I do know the material’s limitations, so as I look to design new pieces and expand the business, I am exploring some new material ideas.

The most important breakthroughs have been in the mixing process. We have successfully replaced the typical heavy aggregates with lighter and more eco-friendly options while maintaining a good strength. This process is much easier said than done.

Tell us a bit about the process of making your concrete.
Our green concrete is made by hand and is a fairly complicated process to mix. It is made of Portland cement, sand, lime, recycled concrete, post consumer plastic, shells and pine mulch. The ingredients are always the same, but the ratios tend to vary. This is due to a number of different factors; the biggest ones are air temperature and the technique being used to craft the pieces. We use different application processes depending on the individual product. This forces us to hand mix many small batches of concrete.

Is it a form of hypertufa?
It is not exactly hypertufa, but the concept of modifying the concrete mix for planters is the same.

Where and how do you get the recycled material you use? Is it pre-crushed? Do you treat it? Does it affect the color of the stone?
Our recycled content is all locally sourced. The reclaimed concrete is cleaned and crushed into very small pieces so we can properly incorporate into our mix. We do not treat the recycled content any further. The recycled content does not affect the color of the stone. It acts as filler so it is really contained within the concrete walls.

What factors come into play when making these decisions about materials and their suitability for a given piece?
The things I am trying to do with any given piece are fairly straightforward. The first is to make the container as strong as possible while using the smallest amount of concrete material. Then I look for the most efficient way to apply the concrete. And the last part is mostly using the best concrete mix to achieve the surface texture for the container. This process does take a bit of experimentation to get production rolling.

Do you actually hand cast every piece yourself? How do you do it quickly enough to fill the demand?
I do cast every piece myself and it is time consuming. I have the experience which allows me to move fast, but efficiency really comes down to making good molds and have a quick system to fill each one.

Your family helps a lot; that sounds lovely… depending! Do they all have a lot of these planters and other items in their homes?
Yes my family helps quite a bit and yes they all have planters in their homes. This is how we test out the product and improve others. I think working with family is a very special thing, if you can find a way to be productive. I’m sure it is not for most people. However, I am constantly surprised how much I like it.

Your materials are sustainably smart. Do you think construction or other types of companies, governments, etc. could use this kind of material on a large scale?
I certainly think it’s a good concept for an eco-friendly building material. However there is a lot of science involved in engineering concrete. What we make is intended for a craft application. I know there are plenty of scientist, engineers and universities working on the construction grade eco-concrete.

Concrete is alkaline, and very porous. Are your planters best used for alkaline-loving plants that don’t need a lot of water?
Yes, concrete is made from limestone, which is an alkaline rock, and therefore alkaline plants will do best in our containers. If you wish to put an acid loving plant in concrete, a liner is recommended. And it is porous, and is better for plants that don’t need a lot of water. In my opinion, porous is good all around; potted plants die because of over-watering.

How should one take care of these pots?
The concrete containers are fairly easy to care for. What I tell most people is to avoid standing water. It can stain over time and in freezing temperatures can crack concrete. Other than that, they are pretty easy to use.

Your Apple Bark Planter was cast from a crab apple tree that got sick and had to be removed. It sounds like you’re very sentimental about plants! What are your favorite things to grow?
I did know this tree for many years and was disappointed to see it go. I had this idea to make the planter, and I think it turned out pretty well. My favorite plants are cactus and succulents. They seem so exotic to me. I love how rugged and nearly indestructible they are. I wish I lived in a warmer climate to grow them beyond my containers.

Maker Stories

The Art of Meditation: Jayne Riew’s Temporary Canvas

March 28, 2014

With a background in literature and painting, artist Jayne Riew was always inspired by the combination of words and images, along with the connection between art and psychology. “For me, art is most compelling when it offers greater self-awareness,” says Jayne, explaining her process of creating pieces that people can turn to when they need help. “Sometimes when we wrestle with unwanted thoughts or tough emotions, language fails us.”

The Meditation Box’s temporary canvas of shifting sand provides a private place to confront these feelings; “no one—including yourself—will ever see it again, so why not scrawl out a mantra, confess something to yourself, or even draw the face of someone you wish you could see?” Once you get all of that mental clutter out of your system, you can simply shake the box, close the lid, and walk away.

Jayne created the prototype of the Meditation Box for a friend who admitted that she found it difficult to unplug at night, losing hours of would-be sleep to her laptop. In response, Jayne created her first box as a way for her friend to lighten her mental load at the end of the day. The laptop size felt familiar, while the layer of sand within gave her a space to be alone with her thoughts.

Recognizing the design’s versatility, Jayne also gifted it to a friend who lost a spouse. He uses the space to write what he would say to her if she were there. When Jayne apologized for the limited space, he pointed out that all the really important things one human needs to communicate to another can be offered in five words or less.

Living with her family in New York City, Jayne uses her own design as a declarative space to help her sort through seemingly never ending busywork, making even a simple to-do list a motivational affirmation. “I’ve actually been able to combat procrastination just by avowing something to myself in writing at the beginning of each day. When you declare things in writing, you see them outside of your mind. Sure, I could write it down on a piece of paper, but the strangeness of the form and the opportunity for play makes me pay attention and remember.”

Maker Stories

Becky Cooper: Making of Mapping Manhattan

March 21, 2014

An idea is a powerful thing. And some may agree that an idea can be even more powerful when it’s explored on the streets of New York City. The contagious thought ‘anything can happen’ is amplified in this urban playground. From cross walks to subway rides, if you look closely you can almost see the ideas that are planted deep in New York minds. Some people, you can just tell, are simply daydreaming while others are working to make something of their ideas–and will most likely succeed. Becky Cooper was one of those wandering, deep-in-thought souls, and she succeeded in turning her big idea into a reality.

The summer after her junior year in college, Becky got the idea for her project. She studied literature at Harvard University and she was inspired by the novel Invisible Cities by Italo Calvino. It’s a book that offers an alternative approach to thinking about cities, how they are formed, how they function, and how human nature is a constant foundation for them. For better or for worse, every New Yorker has a story of their own. Nostalgic. Gloomy. Romantic. Scandalous. Bittersweet. Happy. Becky wanted to slow people down, have them think, and share with her their special New York stories. Instead of just having conversations with those people, Becky wanted them to illustrate those stories. With the help of her friend Dan Ashwood, an animator, Becky designed a map of Manhattan and letterpress printed it.

At first, Becky wanted this project to be completely serendipitous and initially didn’t make direct contact with the strangers. She hid the maps, with directions for completing them and her P.O. box address already marked on the back, in random parts of the city for New Yorkers to find. She placed the maps between the cracks of the Waldorf Astoria doors, inside copies of The Catcher in the Rye at Barnes and Noble, on benches that sat on The High Line, and anywhere else she felt like anyone would be pleasantly surprised to find the small blank canvases. But as time went by she found that the maps she was distributing among the streets of NYC weren’t showing up in her mail.

Determined to make the idea work, Becky decided to take the bold approach of directly walking up to individuals on the streets and speak to them about her Mapping Manhattan project. In the beginning, she would just explain the idea, offer them a map, and walk away. As she approached more and more strangers, the end result of the project became less important as she began to focus more on the connections she was making. Swapping stories and creating ties became the reason she was stopping these everyday New Yorkers. She walked for hours, exploring Manhattan neighborhoods, and aimed to meet as many different types of minds and souls that she possibly could. As the weeks went by, the maps began rolling into her mailbox, proving that connecting with a person face-to-face was much more impactful than sprinkling maps in “strategic” parts of the city.

The finished illustrated maps were overwhelming for Becky — they were diverse, creative, simple, and beautiful. She received maps that were splattered with colors, to maps that were inked in words of wisdom or wit. She received a map of the different locations where one’s ex-wives resided, a map of a painted brick wall from Inwood to Battery Park, and a map describing the different parts of the island between “Fear” and “Relief”. The project gained so much momentum that she even received maps from high profiled individuals, such as Yoko Ono. From the beginning of this project, Becky tinkered with the idea of publishing a book of the maps. As the maps continued to roll in one-by-one, she realized that the book could actually happen.

When the book was published, Becky knew that it was worth every step she took down Broadway and Houston and every avenue in between. She charmingly titled it Mapping Manhattan: A Love (and sometimes hate) Story of 75 New Yorkers. These collection of maps, paying homage to the love-hate relationship one has with this concrete jungle, can hit a few emotional spots (from the feel-good to gut wrenching) for any city dweller.

“This project will always be ongoing. My P.O. box never closed. That would just be a shame.”
– Becky Cooper

We invite you to contribute our artist community and be part of the creative process by entering our Mapping Manhattan Contest; download and create your own artistic rendition of what Manhattan means to you. Keep it for your personal inspiration or send it in to add to Becky’s growing collection. Submit your map by May 31 for a chance to win the Mapping Manhattan book and a framed art print of your choice.

Maker Stories

Scott’s Flower Power Wins the Art Contest

March 14, 2014

Scott Silvey literally understands the power of flowers. Scott’s nature-inspired art pieces resonates from living on an Indiana farm and caring for a garden when he was a child. Various plants and flowers have always carried a bit of a magical spirit to him. In his winning art piece, Aphrodisiac Bath, he illustrates a vibrant botanical scene that celebrates not only the beauty, but medicinal properties of flowers and herbs. The backdrop of where the plants sit are scrolling scripts, detailing the ingredients for a stimulating bath. Many of Scott’s work celebrate the healing power that nature possesses. “I create paintings and other art that investigates the manifold ways in which plants can positively effect human life. In a world that is becoming increasingly artificial, my work is a reminder of the healing potential that lies in the roots, stems and leaves growing all around us.” Scott has also been inspired through living, studying, and working abroad in Japan, South Korea, England, and now back to the United States. Meet Scott Silvey, our latest Art Contest Winner, and our ultimate Flower Power King.

How did you come up with the concept of Aphrodisiac Bath?
All of the pieces in my Invocations series are in effect portraits of various herbal remedies. The plants in each painting could be combined in reality to make traditional medicine to treat various afflictions. While working on this series my best friend gave me the news that he would be getting married. I wanted to do a painting as a wedding gift for my friend Sam and his wife Jackie, but creating an image of medicine just didn’t seem appropriate. So when I ran across this recipe for a stimulating bath I got really excited. What could possibly be a better image for newlyweds than one which increases their desire for each other?

Tell us about the moment when you realized “I want to be an artist.”
In undergraduate school I studied psychology. During my final year of undergrad at Earlham College I decided to take a photography class just to fill a requirement. It was that decision that changed my life’s direction. I couldn’t stop taking pictures. I began by just shooting what was around me but my image making soon turned to creating almost allegorical sets to pose myself and others in. I actually didn’t get such a good grade in the class though because my interests often diverged from the assignments.

What different techniques do you use when creating your art?
With the painting I use primarily water-based paints and a carbon transfer process that I’ve developed through the years. Much of the primary imagery comes from the internet and then I just assemble and compose the individual pieces into finished work. When I make sculptures or installation the techniques depend on what is required for the concept. I weld, do woodworking, casting, forging, sewing or whatever is needed for the piece. In the next few years I hope to expand my technical repertoire. I want to do some performance and film work in addition to what I currently do.

You once lived in Japan. What exactly led you there?
When I was a child my father always collected National Geographic magazine. The images of beautifully attired geishas, exotic temples, and snow monkeys found from time to time in its pages always fascinated me. Then, when I was in university I spent a lot of time looking at ukio-e and other Japanese image making and design. I liked all of the seeming dissonance in the work. The density of imagery in the kimono design versus the remaining abundant negative space in a print. Or the intense violence of a battle scene juxtaposed with someone arranging flowers in a quiet room in the corner of the painting. I never really thought I’d have an opportunity to live in Japan but when the opportunity to move to Tokyo arose, I jumped at it.

Can you describe how living in Japan influenced your art work?
I think the biggest influence Japan had on me while living there was on my composition sense. In the last place that I lived before moving back to the States, my local train station had a small display area for ikebana (flower arrangements). Every day as I walked to or from the train I was treated with a constantly shifting array of mini sculptures. That moment of stillness among the bustle of commuters always made me pause and take note.

Are there any major projects, collaborations, or ideas you’re working on now that you want to talk about?
Yes, I have five notebooks full of ideas for installation and large-scale painting projects I’m eager to put into the world. As you might imagine, there were certain spatial constraints in Japan that limited the kind of work I could do. Now that I’m back in the U.S. I really want to work big again. My first solo exhibition in America will involve three large installations, 365 live plants, about 4 tons of raw soil sculpted into the form of an Ohio River Valley culture ceremonial mound and some glowing neon among other things.

Which artist(s) do you look up to?
There are many artists that I admire. As Newton said, we stand on the shoulders of giants and to not be aware of your predecessors or acknowledge their contributions to your work/ field is just ignorant and delusional. Generally I love the work of outsiders, folk artists, the mentally ill and children. The themes, material usage and compositional sense of those who haven’t been ‘educated’ is just fantastic. Probably Henry Darger is one of the names many people may recognize in that category. In addition I love the drawings of Hans Bellmer, work by Morris Louis, Edward Hopper, Albert Bierstadt, Jessica Stockholder, Marc Quinn, Petah Coyne, Tom Sachs, Jake and Dinos Chapman, Shana Robbins and my wife Mio Silvey among many others.

What was the toughest lesson you learned while being an artist?
It takes a lot of persistence and faith in yourself and your ideas to have any success in the ‘art world.’

What advice would you offer yourself 5 years ago?
Try to get more sleep because raising a child and making art is going to make you very tired.

What quote keeps you motivated?
Last year, at the announcement of his retirement from an illustrious career in animation, Hayao Miyazaki was quoted as saying, “Never stop trying to achieve more universal and profound expressions of humanity.” I think those words best express my drive as an artist. There are as many ways to live a human life as there are, have been or will be humans in existence. There is beauty in the fact however that on the most fundamental level we are all the same. The deepest personal expressions can also be the most universal. The more that I can come to understand who I am, the closer I can get to comprehending what it means to be human. My work is an attempt to find those factors which unite us all.

Where do you go or what do you do when your inspiration is completely lost?
I usually try to pick up a new book, watch a documentary or just go for a walk alone.

Do you have any secret vices?
It’s always easier to not work than work. For me the most interesting part of the art-making process is coming up with the ideas and doing the research. I don’t have any particular vices that prevent me from doing work, I just have to stay focused on making the actual artifact and not just swim in the ideas.

What advice can you offer anyone who is submitting their work into our Art Contests?
Do your work, follow the leads that life gives you and always try to do your best. Push yourself to find a different angle on what you know and you may find an entrance into a whole new thematic world. Then, gather up your friends, fill out the application form and send it in. A seat at the table is waiting for you!

Click here if you want to add Scott’s beautiful artwork into your home or gift it to someone who would appreciate his masterpieces!

Maker Stories

Teresa Kahres on Jewelry and the Business Behind It

March 12, 2014

Teresa Kahres grew up in Long Island, NY and began showing her artistic leanings early in life. She went on to study jewelry design and enameling at SUNY New Paltz, the Cecelia Bauer Studio in New York City and in Siena, Italy. Some friends invited her to join them in a Brooklyn studio in 2005, where, the following year, she founded t. kahres jewelry, her line of sustainable, nature-inspired, handmade, recycled metal jewelry.

Her deep love for the shapes and colors found in nature shows in the organic forms of her metalwork–often hand-cast from actual leaves, shells, etc.–and the stunning colors of her enameling. The end result is intricate jewelry art, exquisitely crafted like small sculptures.

We’re in love with her creations, and jumped at the chance to ask her some questions about herself and her work.

Were you artistic as a child or teenager? If so, what kinds of things did you create?
I was very artistic as a child. I always drew pictures and took projects for class to the next level, whether it be a science project, an art project, history, etc.

I remember one project when I was in 4th grade. We had to make a homemade usable tool/object. I made a fishing pole out of a long branch and twine, and tied a rock to the middle of the twine so it would drop down in the water to catch fish. I carried it all the way to school. I taught an art drawing class on the computer in the 4th grade as well.

I was always more interested in art class and did very well in those classes. My mind understood that process. For the other classes I really didn’t have much interest, and it always took more time for me to grasp what was going on. It was kind of boring to me.

What were your major inspirations growing up? Any role models?
My grandfather and dad were major inspirations. They are/were very handy people. They would make things, if they could, before buying them.

My grandfather was always into funky gadgets. I remember he bought a huge (by huge I mean probably a foot wide) rear view mirror for the car so he never had to look back. He was all about the design, too. He was always drawing and was an exceptional drawer.

He and my dad owned a bookstore, and they built all the shelves and many of the things they had in the shop by hand. They wallpapered my whole house and made picture frames, step stools, tables, wall units, you name it. They weren’t woodworkers, they just knew how to create things the way they wanted it.

So I was around a lot of crafty, handy people growing up.

Are there any great jewelry artists or sculptors of the past who you worship?
One of my inspirational jewelers is Art Smith. His jewelry is very sculptural, and he used a lot of found metals and materials to create his jewelry. His pieces are a true work of art to me.

When I started enameling, I was first influenced by Georgia O’Keeffe. I love her flowers and the colors she uses. Louise Bourgeois and her large metal spiders are amazing in real life. Her sculptures and what she expresses within them is a real influence.

When did you become especially interested in making jewelry?
I became interested in making jewelry when I made gifts for everyone out of whatever I could find. I would make jewelry out of beads, leather, vinyl, studs, safety pins, string, etc. I took a metalsmithing class in college and became hooked instantly! So I delved into metals and started loving what I was creating.

What are the most challenging aspects of creating your jewelry?
The most challenging part of jewelry making is the steps you take to get it to what you want it to become. Drawing it and fabricating it out of base metal, paper or wax to see scale and design before you actually make it in the metal you want. Making a model out of precious metals can get expensive if you are in the very beginning stages, so it’s always better to try and make it first from something less precious.

What are the greatest design challenges in creating jewelry?
The greatest design challenge is trying to make something unique and eye-catching and yet something that an everyday person can respond to. I understand that not everyone will like my work, but I want the work to be wearable and sellable.

Do you work alone, or with a team? If the latter, how does that work?
I currently work with an assistant, and it has made everything so much better and easier. It relieves some stress of pressing orders. She helps me make decisions and keep things organized. She is great!

How long does it take to create each piece of leaf jewelry?
When I am doing production I do a bunch at a time, but I’d say each leaf earring set takes about a full hour to complete from start to finish.

How do know when you’ve spotted something you want to make into jewelry, like a leaf, etc.?
I know when I want to make something into a piece of jewelry if it speaks to me instantly. I am always on the lookout for new things to create and colors to use so when I am feeling something I usually try to create it out of metal.

With your nature-inspired jewelry, does the change of the seasons inspire you to change what you’re making?
Most of my jewelry is beach-related, which is where I find the most peace for myself. I somewhat dislike winter. Although I did do a new collection not so long ago and based some shapes on ice, so I guess I am influenced by all seasons. I just tend to get more inspiration from the warmer ones.

When did you start becoming a “real” business woman?
I started to become a real business women when I realized that I wanted this to not be a hobby. A few friends of mine were getting studio space many years ago and asked me to join in with them. At that point it started becoming more and more like a business. I did have another job during my first years into business so that I could fund materials and such.

I was approached to do the Grand Central Holiday Fair a few years ago (at that time I was working three jobs, jewelry included). I decided to take the leap of faith and do the fair and quick my other jobs. The fair was going to be 42 days–and very long ones–so I wouldn’t be able to work all three. I was very pleased with my decision to let go and go for the business in full force. The fact that I can run my own thing now is the best. I was scared, but happy I finally got over it.

What are the biggest business lessons you’ve learned?
Big business lessons I learned are:

It’s pretty difficult being your own boss; the structure, and keeping everything organized and on time.
Not being scared to not be good enough and trying to get what you want is a big challenge in such a competitive field. Going for it and not standing back was a challenge. But as my business grows and I am a bit older, I am trying not to let anything stand in the way.
Having the freedom is great, but you have to be structured in order to have a successful business. Sure, you can take off whenever you want but then things get left behind.
Hiring someone is scary because now you have to manage someone else besides yourself. But if you get sick and need to take off and you have no one that works for you, business stops.

Those are my biggest thus far. I am sure as I grow, others will arise.

Maker Stories

Inside the Artist Studio with Stacey Lee Webber

March 5, 2014

Philadephia jewelry designer, Stacey Lee Webber, creates her pieces from pennies and small coins—making art from what could easily be overlooked and discarded. The same can be said for her incredible studio and living space. Situated within the former Globe Dye Works factory–a space she calls home, work, and the location of her wedding–her space is one of the most uncommon I’ve ever visited. Aside from having been saved from scrapping and recycled, the factory is home to many other designers and just oozes creativity. Stacey’s studio also serves as storage for her creative friends’ projects that won’t fit anywhere else.

After I was done drooling over the space, I got to know one of our artists in a deeper way. Behind the beautiful necklaces and cufflinks on our site is a process of sawing, filing, and tiny metal splinters, creating the kind of dichotomy that makes handmade pieces like hers so special. When I see a coin, I see an opportunity for a Tootsie Pop. When Stacey sees a coin, she sees art–just another reason why it’s so fun to try to get inside the mind of our designers.

Take a stroll around Stacey’s creative space and get to know this Uncommon Artist.

Maker Stories

Sean and Armelle’s Glass Design Wins Upcycling Challenge

February 7, 2014

It can be said that with every creative couple, the ultimate dream is to one day collaborate and use their talents and ideas together to create something pretty special. Sean O’Neill and Armelle Bouchet O’Neill did exactly that with their genuine love of glass making. The O’Neills proudly run Studio Manufact and push themselves to the limits to perfect their craft and to supply well-designed glass products to their community. We received dozens of unique and clever entries for our annual Upcycling Design Challenge, yet it was Sean and Armelle’s Upcycling Glass Tumblers design that caught our eyes. The tumblers are sleek and simple, it’s a product that can be used everyday while still appreciating the actual design itself by not just looking at it, but holding it. Starting to design a new glass collection, the couple decided to scavenge glass bottles from around their neighborhood venues. Sean says, “It is really refreshing to create something unique out of something as ubiquitous as a beer bottle. We have been so encouraged by the positive response from our community that we are really excited to share our design with the wider world.” Meet The O’Neills, our Upcycled Design Challenge Winners.

What’s an Uncommon fact about you and your hometown?

Sean: I went to four different high schools in three different states.

Armelle: I grew up on a farm in the south of France. An uncommon fact about our neighborhood park is that it was designed by the Olmsted brothers, sons of the designer of Central Park. Seattle is covered in parks, over 10% of the city is either a park or open space.

Your Upcycled Glass Tumblers are an elegant and beautiful design, how did the idea of recycling bottles and to make them into a product come about?

Sean: I have been making a line of glasses I call “crinkle cups” for years, that design lent itself seamlessly to use recycled bottles as the starting point. We are planning to move into a new studio and bring our production capabilities in-house rather than continually handing over large sums of money to rent a studio for the hot glass component of our production. By designing objects that we can create using existing glass we can cut out the glass melting part of the equation. With the reclaimed bottles, we have a consistent supply of materials that would, otherwise, be destined for the waste stream. So it was a progression that came as a result of wanting to make affordable, unique designs that we could produce consistently and be able to offer them to a wider audience.

How long have you been working with glass?

Sean: I got into glass making in high school in 1997, I moved around quite a bit over the years, but I have found a way to work with glass everywhere I’ve lived since then.

Armelle: I started while I was a student in Art School in 2001 and fell in love with the material. A few years later, I went to school at the Danish Design School to specialize in glass and moved to Seattle in 2009.

Where do you find inspiration within your work space?

Armelle: We collect many objects for their texture, form and color that as inspiration for our fine art work and our business, Manufact. Working with materials and and refining processes also inspires us, so the more we work in the studio the more ideas we get. We are also really fortunate to share a space with over a dozen other makers. So being in that proximity to so many other creative people is very inspiring.

Where does down time fit into a day of being productive?

Sean: Between making artwork, starting a new business and having a young family I can’t honestly say that downtime is a daily occurrence. But now that we have the wheels turning on so many facets of our life that we are passionate about, the next step is to organize them in such a way that downtime takes some priority.

How do you recharge your creativity?

Sean: If I feel like I need to recharge I make sure that I disconnect from the internet and look through my photos and sketchbooks where I inevitably find lots of ideas to revisit and explore.

Armelle: Ideally, by going on excursions, observing, and taking pictures. But lately it has been difficult to find the time to go on field trips.

Other than working with glass, what else do you do?

Sean: As for me, in the midst of pursuing a career as a glassmaker, I started a business designing and building self-watering garden beds, mainly the byproduct of building six of them on the roof of our studio. I am also a technician in the School of Art at the University of Washington.

Armelle: We have a two year old little girl, spending time with her after working with glass is our favorite occupation. We also teach, ride our bikes, and garden!

Do you have any special projects or events that are in the works?

Armelle: I’m preparing for two group shows with my artwork, one in Seattle and one in Chicago.

Sean: I’m designing the layout and new equipment in preparation for our move into a new studio!

What are your most essential tools that you must have on your side while you design?

Sean: A camera is an essential tool for me to document and translate a lot of what I see in the world around me.

Armelle: My coffee cup, living in Seattle has made me addicted to coffee!

What was the toughest lesson you learned working with glass?

Armelle: That you can’t count your chickens before they’ve hatched, meaning that you can’t get attached to material things that has to endure such extreme and exacting processes because there are so many opportunities for something to go wrong.

Sean: The realization of the occupation that I have chosen as my path in life, working with glass takes a long time to master and it’s very energy intensive. This is one reason why the Upcycled Glass Tumblers are so exciting, with them we have found a way to offer a product that is unique and efficient by using recycled materials.

What advice would you offer the Sean and Armelle of 5 years ago?

Sean: To trust that if you pursue your passion your efforts will be acknowledged and rewarded. The most important thing is to be true to yourself and if you do that, the rest will begin to fall into place. It seems really easy to focus on the byproducts of success and attempt to attain those rather than aiming for the essence of what makes something work well and creating that for yourself.

Armelle: Do it right the first time! This advice can be applied in so many circumstances and it most often holds true. You must really take care to do things well so as not to waste time fixing them later, that way you have the freedom to move forward.

Are there any particular artists or similar businesses you look up to?

Armelle: I got my start working in a studio called Glassmedjen Denmark. They have been a model business for me ever since. In addition, there is a Finnish artsit, Anu Penttinen, who I have always looked up to as an example of what is possible if you stay true to an aesthetic and continue growing and pushing forward with your designs. Here in the states I would say I look up to Joe Cariati. He is a talented artist who has also created a successful business making really refined handmade objects.

How did you celebrate when you learned you were our Design Challenge winner for the Upcycling Design Challenge?

Sean: We got pretty giddy and congratulated each other but to be honest, we’re still waiting to celebrate…

What quote keeps you motivated? What does that quote mean to you?

Armelle: “Choose a job you love and you’ll never have to work a day in your life.” -Confucius

Sean: “Everybody does better when everybody does better.” I feel a little silly because I saw this quote on a bumper sticker and I’m not sure who actually said it but it really resonates with me. I think that when you thrive, those around you thrive and vice versa. It is also a reminder that you can’t wait around for other people’s success to rub off on you, you have to go out and create it for yourself.

What are some new skills you are trying to acquire to perfect your craft?

Sean: I am trying hard to hone the business side of the equation these days, by spreading the word about our business and getting people excited about it and meanwhile trying to be diligent in our record keeping and the less glamorous side of working for yourself.

Armelle: I am excited about utilizing technology to compliment my handmade process, so I am learning various design programs to translate my ideas and images into the objects I create.

What are the pros and cons of being business partners and married at the same time?

Sean: We really complement each other by offering a different perspective to one another. It always helps to see something with a fresh set of eyes and that is sort of built in when you work with a partner. We both excel in different areas so we are able to cover a lot more bases than we would working alone. The cons come with the territory of sharing everything… home, business, and studio. Work is always part of our life, it is hard to stop and not think about it once we leave the studio.

What advice can you offer anyone who is submitting their work to the next Upcycling Design Challenge?

Sean: Love it! Share it! Offer something you believe in and inspire other people to get behind it.

We are pleased to announce that the Upcycled Glass Tumblers are now available at UncommonGoods.com!

Maker Stories

Inside the Artist’s Studio with Cassidy Schulz Brush

February 2, 2014

No matter how much I prepare before a Studio Tour, I never know exactly what to expect when I step into a creative workspace. On the way to my most recent artist encounter I traveled up New York Avenue by bus, out of my own Brooklyn neighborhood and into a close by, but unfamiliar, area somewhere between Bed-Stuy and Williamsburg, I wondered what I’d see when I arrived at Cassidy Schulz Brush’s studio, Urban Chandy. After getting off at my stop, I wandered down a street that seemed to be a mix of industrial and urbane. I walked past warehouses and large trucks making deliveries, but also passed several people who looked like they could be on their way to art shows or coming from trendy coffee shops.

When I entered Cassidy’s studio, I found that same juxtaposition of city chic and industry. Of course, it’s what I should have been expecting all along, considering that Cassidy and her team so beautifully combine mechanical elements (like wires, sockets, and bulbs) and gorgeous reclaimed materials (like barn wood or vintage ceiling tiles) to create her chandeliers–or chandies, as she calls them.

The space is lit by a combination of sunshine pouring in large windows and the exposed bulbs hanging from its many chandies. Stacks of wood, various tools, and spools of wire line most of the walls there, and the remaining wall is covered in chalkboard paint and filled with chalky lists and numbers. Surrounded by so many details, I felt like I could explore the studio all day examining the many combinations of old and new. Here’s a closer look inside Urban Chandy, and some great advice from Cassidy Schulz Brush.

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