Lisa Stephen

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Hello, everyone, and welcome back to Behind the Bower. I'm
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Ryan Steffen, the executive director for Bower Center for the
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Arts here in beautiful Bedford, Virginia. On this podcast, we
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get to know some of the incredible artists, creative people,
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and organizations that help make our community such a special place.
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We talk about where creativity comes from, the journey that
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brings people to the arts, and hopefully inspire a few
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people along the way to try something new. Today, I'm
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welcoming someone new to the Bower Center family. Lisa Stephen
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is our new stained glass instructor, and we're excited to
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have her share her creativity and experience with our community. Today,
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we're going to get to know Lisa a little bit better,
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talk about her journey as an artist, and learn more
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about the art of stained glass. And students can hear
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what to expect from her classes here at Bauer Center
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for the Arts. Welcome to the Bauer.
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Thank you.
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All right. So I'm fumbling all over my words this morning.
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I think it's my Monday. We had yesterday off.
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Yeah, right.
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So thanks for joining us. I know you're not Bedford,
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but you're Bedford Tangential. Can you tell us where you're from?
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I'm actually born and raised in California. So Central California.
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I moved here in January of 2021 after living in
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the San Francisco Bay Area for 10 years. So I was...
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really over living in the city and just really wanted
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to be around nature and landed here.
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So I love this question because there's a lot of
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people from here who are not from Bedford, but move
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to Bedford. And there's always something, a story that draws
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them here. What drew you to this area of Virginia?
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So you've seen my spreadsheets. I'm a little neurotic.
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Yes, she is fantastic.
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I actually laid out every single state and then started
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to slowly whittle it down, which was quite a process
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with my partner. And I was really getting into herbalism
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during COVID. And this area has a really big herbalist community.
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Oh, yeah.
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So that drew me. And then I've got some family
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in the area in Greensboro and Powhatan. So that also
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kind of helped me pinpoint this area. Yeah.
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That seems so very on brand for you. Very systematic,
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very thoughtful. So we invited Lisa to join us as
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a stained glass instructor, partially because we we've been looking
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for an instructor to do that and didn't really have one.
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And our new programming person, Anna, is like, I've got
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the perfect person who could get this started back up
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for us. And so she asked you to come join us.
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And so I thank you for joining our family. So
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part of this podcast is to let people know a
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little bit about yourself. So I know you said you
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were moved here from California, but let's rewind and tell
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us a little bit about who you are.
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Oh, let's see. I'm a little bit of an introvert.
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So I never saw myself becoming a teacher, the idea
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of public speaking. But I have always been a creative bug,
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I guess. I remember drawing Garfield when I was a
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kid and photography was my first like artistic passion. I
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still love documenting my everyday life, people around me. I
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actually photographed weddings for 10 years, which was really fun
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and also a little bit depressing when Pinterest weddings became
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like a really big, I don't know, Marker for weddings.
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It's almost like you lose your creativity at that point.
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You're like, I just want this photo. I just want
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this filter and this background.
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Especially as somebody who focused more on photojournalistic style. I
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didn't really want to do the post stuff.
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I wanted to do.
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The natural emotional interactions and connections.
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So, yeah.
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What I got to do was really fun. And then
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at some point, I decided I wanted to go into
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birth photography.
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Okay. Which.
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I spent like a year preparing for in 2019. And
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then when COVID hit, they weren't even letting partners into
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the hospital. So unfortunately, I never got to pursue that.
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But yeah, I have two younger sisters. I have four cats.
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I love my babies. What else could I share? I
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love traveling. Photo booths are my favorite. I collect Squish pennies.
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I love it. So tell me a little bit about
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your artistic journey. I know you said you did photography.
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Have you always been artistic or is this something that
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you feel like was later?
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I don't know that it was cultivated as much when
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I was a kid, but I was always doodling. I'd
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get in trouble like in second grade for drawing on
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the desks and things. And I've kind of explored a
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lot of different mediums like I think most artists do,
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but I... Um, I taught myself a little bit of embroidery.
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I taught myself how to quilt. I jumped right into
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a queen size quilt, which was so silly of me, but, um,
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has now become like a family heirloom. So, um, yeah, I, I,
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I started off with photography being an assistant, um, somebody
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who needed help getting the mail done and things like that. Um,
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and then I quickly became her second shooter and, Um,
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it just blossomed from there.
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Um, yeah.
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All right.
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So do you remember your first dabbling in stained glass? Yeah.
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Um, so I was in a mixed media art class
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in high school.
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Okay.
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And one of the assignments that we were given was
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to do stained glass. And I did, I meant to
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look this up, but I think it's called a Brachiosaurus,
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the dinosaur with the long neck.
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Okay.
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Yeah. So that was my first ever stained glass endeavor.
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And I was so sad when we moved on to
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the next mixed media assignment because I just loved it.
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And then, gosh, that was like, what, 13, 14 years
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ago now. So it took me a while to get
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back into it. But, you know, when I found it
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here in Lynch or in Lynchburg area, I was really
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excited to get back into it.
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Wow. I can't imagine having stained glass in high school.
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I know that's that's it. A great arts program that
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can incorporate part of that.
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Yeah.
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You know, and I think that that's something that our
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community signs for good is that our art teachers really
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can bring a wealth of opportunities for kids to dabble in.
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Yes.
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You know, in Bedford County Schools, we're lucky that at
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the Bauer Center we host an exhibit every year with
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the Bedford County Schools. And it's been, you know, I've
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been involved now for about three or four years, and
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it's been fun to watch what each individual teacher brings
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to the table. Mm-hmm. as they introduce their kids to medias,
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to styles, to opportunities. At this point now, I can
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almost say what school pieces come from based off of
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the personalities I know about their teachers. And I think
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it's such a neat thing that an individual can bring
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so much to a kid like that.
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Yeah. I mean, the right kind of teacher, I think,
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can bring out such... I don't know how to word
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it exactly, but... The right kind of teacher can just
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do magic with kids.
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Right. And it's serendipity that you happen to have a
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high school teacher that happened to know a little bit
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about stained glass and that happened to throw it to you.
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Yeah.
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You know, I'm forever thankful to my art, to art
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teachers who I think were surprised I didn't go into art.
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I really liked it. I went into all kinds of things,
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you know, but landed as an English and theater teacher.
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And I had one of my old art teachers who said,
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he's like, well, you're still doing art. Like you just
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do three-dimensional sculptures. Yeah. that are temporary. Yeah. Um, and
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so I, I loved viewing at that direction that the
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artists never left. I just picked a very specific medium.
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So you actually taught your first class at the Bauer
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center this past weekend.
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Yeah.
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How'd that go?
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It was fun. I, there was a full class of
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six people and, um, it was a little bit of
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a challenge to learn a new space for teaching, but, um,
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that's part of what I love about it. And, um, Yeah,
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I gave them kind of a difficult piece. It was 3D.
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So assembly was a little bit of a challenge. But yeah,
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they did great. They had a lot of fun picking
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the different colors of glass and learning how to cut,
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which is always probably my favorite part of watching people
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make their first cut. Because we're so trained that you
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can't break glass, you know, dishes and whatnot. So yeah.
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getting to see somebody actually break the glass and you
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hear that clink and it's just so satisfying.
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And probably there's a reaction on their face. Like, Oh
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my gosh.
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Yeah.
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And I broke it the way I wanted to. Yeah.
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Yeah.
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Or I did not. Yeah.
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Surprisingly, most people do get a good first cut.
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So, you know, tell us a little bit, every art
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medium is different. What do you, what do you teach
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your students to consider when creating a stained glass piece?
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I think color comes into play with glass. It might
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look one way on the table, but the moment you
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pick it up and hold it against a light, you're
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going to get a whole different personality. So that's one aspect.
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I think when I draw up my patterns for these workshops,
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I try to have something that has some flexibility. So
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I don't have too many pattern pieces right next to
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each other. There's fluidity. If they end up cutting it
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a little bit smaller or a It just becomes that
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much more unique. There's a lot of safety. I want
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everybody to be safe when they're working with these mediums.
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There's a little bit of chemicals in play. There's obviously
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the solder. So, yeah, safety and flexibility, creativity is just
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like a couple of the.
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It's sharp and hot and caustic.
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Yeah, everything all together which is like a big part
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of the appeal i think for for me like i
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i'm a little bit of a thrill seeker i've gone
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skydiving twice and ziplining and such so that that was
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like a big thing that drew me to stained glass
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was that um the play between fear and power you're
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getting to experiment with something you don't normally get to touch.
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Right. And, and, and harnessing things that you don't really
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get to always control.
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Yeah.
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I had never thought about it until you said it
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right now, but it's actually a very interesting way to
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look at that.
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And it is very much a dialogue because you have
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to learn how to talk to the glass, how to
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cut it in such a way that it, or score
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it so that it breaks the way you want. If
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you mess around, it's going to do its own thing.
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And then, and then you get that feedback real fast. So, um, yeah.
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So take me a little bit through like an introductory course.
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What is a student going to do in an introductory course?
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Yeah. I think the most rewarding thing is that you
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start with nothing and you get to take home a
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finished piece in that three-hour class. And I'm going to
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show you how to cut the glass. I'm going to
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show you how to grind it. And then you put
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this really thin layer of copper tape on it so
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that we can solder it.
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Can I back up? What does grind it mean?
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Grind it. So in order to get to the shape
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of your pattern piece, um, you might have to cut
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off or grind off file off a little bit of
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the glass. So especially as a beginner, you might not
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be as forward about cutting the glass. You might end
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up with a little extra. Um, so you get to
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just smooth it out, take off the teeth if you will.
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So it's not too sharp. And, um, And get it
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to fit in like a puzzle piece.
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So is that how curved pieces eventually are done? I
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know this workshop was working very much with straight pieces. Yeah.
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But is that how you make a curved piece?
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No, you can cut a curved piece. The glass cutter
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that we use is very malleable. So you can move
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in funky directions. The more advanced you get, the more
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comfortable you get with that. But this last workshop was
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straight lines. And most of my workshops actually have a
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lot of curves in it. I've learned that a lot
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of beginners don't do well with really tight curves. So
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I try to make it kind of middle ground. But
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I also like to challenge my students. So there's some
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in there. So you can use the glass cutter and
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you can use different pliers, different tools to pull those
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pieces out and get the shapes that you're going for.
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Okay. I interrupted you. So you're saying copper tape. That's
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where we left off. Yeah.
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And then soldering is essentially the last step. There's a
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few pieces. like clean up things at the end, but soldering,
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you get the soldering iron, you're working with 310 to
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360 degree iron and you get your solder and you
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get to melt that down and it turns into this
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kind of mercury like texture. So then it's kind of
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fun because you have to learn how to get it
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to smooth itself out, coagulate. flow across your piece.
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It's funny you said that because I was talking to
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one of the students who took that class yesterday. I
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was in the Bauer Center and so was she. And
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she was talking about how it wasn't working the way
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that it was supposed to. And you had to remind
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them that they were working in a piece in three dimensions.
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Yeah.
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So you had to lay it down. Yeah. Yeah. Yeah.
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Gravity will very much work against you if you're not
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thinking about that.
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Right. So it's just funny. You talked about like having
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to learn to make it malleable. And she was sharing
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that story about learning to harness molten metal.
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You also have to learn how to be patient because
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the more you work it, the more you have the
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chance of it kind of bleeding through the other side
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of your glass or you burn up what's called flux.
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It's a chemical that just helps it kind of move smoothly.
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And so, yeah, there's definitely like a patient aspect as well.
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You have to let it cool. And it's neat because
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you get to watch it change color as it cools down.
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So it goes from like a kind of shiny to
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a matte silver and yeah.
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So, yeah. How long would you say it takes many
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stained glass artists to feel like they have control of
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the tools that they're using?
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I feel like I typically say if you take about
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two or three of the sun catcher workshops, you're going
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to be pretty confident moving forward. That's just the easiest
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way for me to put it in a parameter, but,
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the more you work with it, the more confident you get.
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I feel like I've also watched so much content online
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that it's helped me teach it in a certain way,
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the way that my brain works, I guess. I feel
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like I've explained it in a way that speeds that
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up a little bit from when I was learning. So
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not to toot my own horn, but it makes a
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difference to know like you have to press the iron
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all the way down to the glass through the solder
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versus just like brushing across the top and warming it yeah.
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Yeah no i think that it's amazing the resources that
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now exist out there to help us yeah and to
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help us be better teachers i mean i do think
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resources sometimes give us some false confidence totally yeah we
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look at these super intricate things they're like i can
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do that um maybe like making a quilt yes.
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Yeah i could do that yeah I've been dabbling in
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pottery recently and I've watched some videos and man, people
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make it look so easy. And then getting my hands
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on it myself, I'm like, oh yeah, this is going
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to take some time to learn.
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I've taken, well, I took pottery in high school and
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then I took a class at the Bower Center. It
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was the very first introduction I had to the facility
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at all. And I'm still not convinced I ever actually
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learned how to center the clay. So everything I have
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is just a little wonky and a little crooked. I'm
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very proud of them. But I'm not sure I got
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past the first step, honestly. I always think I'm going
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to go back to it.
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One of the things that I try to bring into
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my classrooms is I don't want people to be fixated
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on perfectionism. I think that's really easy for our inner
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critic to take over. But there's just so much fun
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in play. Right? So, like, part of the patterns is
323
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if you accidentally grind it into a little bit of
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a wobbly shape when it's supposed to be a straighter curve,
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that's part of what makes it your unique piece of art.
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Right. And, you know, depending on how flexible you can
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be as an artist, maybe you adapt your whole path
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based off of an accident.
329
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Yeah.
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I think there's a lot of art that changes their
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path on an accident. Yeah.
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In fact, I had one student who came up to me.
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We were making succulents in, like, a little pot. Mm-hmm.
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And she was like, I just feel like it needs
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one more leaf on this side because the colors I
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00:16:34.000 --> 00:16:35.899
chose is just not balanced. And I was like, yeah,
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go for it. And she went and drew up her
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own leaf and added it to it. And it did
339
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make such a big difference.
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Yeah. So Lisa offers workshops. I'm reminding everybody here. So
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we do have a four week like basics class for
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somebody who wants to learn a little bit more of
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the process and the nitty gritty. But, you know, the
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workshops are a great opportunity. It's something that we've worked
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really hard this this semester in classes to is to
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have workshops available for people who don't want to commit
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the time, don't necessarily want to commit the money yet,
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but want to try it out. And, you know, you
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mentioned something about the artistic community. And so I happen
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to be working the desk on the day that they
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were running this class. And sometimes I would drop in
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and take a look. And sometimes I don't want to
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freak you out about this. I would just stand outside
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the hall and eavesdrop because I love to hear like
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how the community works. And there are some times where
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it was very clear, concentrated silence and other moments where
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there were just like giggled conversations.
358
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Yeah.
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And I think that's a big. hard about taking a
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class as opposed to like learning it on YouTube there's
361
00:17:40.819 --> 00:17:42.849
certainly ways you can do that is there is this
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like sense of community where you learn from each other
363
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you talk to each other either you bounce ideas or
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you Or you get affirmation. Yeah. You know, that looks great.
365
00:17:53.130 --> 00:17:56.670
Sometimes I need affirmation to tell me I'm doing it right. So,
366
00:17:56.690 --> 00:18:00.789
you know, we have two more workshops left this fall, right?
367
00:18:01.349 --> 00:18:03.089
So tell me a little bit about the two workshops
368
00:18:03.109 --> 00:18:03.829
you've got coming up.
369
00:18:03.849 --> 00:18:05.509
Yeah. So I don't know if I could tell you
370
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the dates offhand.
371
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That's okay.
372
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But in October, we're doing a spooky stained glass workshop.
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So students will get to pick from four designs. I
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have a ghost. I have a bat. I have a pumpkin.
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And.
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one other one that I'm spacing thing. Um, and then, um,
377
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in December is the festive festival. No festive.
378
00:18:29.589 --> 00:18:30.650
Yeah. Festive. Yeah.
379
00:18:30.690 --> 00:18:35.079
Festive workshop. And so same idea you can pick from, um,
380
00:18:35.579 --> 00:18:40.319
a Christmas tree, I think, uh, Christmas light and something else.
381
00:18:40.380 --> 00:18:41.559
I forget what I have options.
382
00:18:41.619 --> 00:18:43.980
What a great gift for somebody. I was just thinking like,
383
00:18:44.019 --> 00:18:45.859
what a great way to like make a stained glass
384
00:18:45.940 --> 00:18:49.710
ornament or a stained glass piece to give somebody, uh, Yeah. So,
385
00:18:49.789 --> 00:18:52.450
you know, I anticipate that that workshop might feel the
386
00:18:52.470 --> 00:18:55.759
workshops both might fill up pretty fast. Yeah. Right now
387
00:18:55.779 --> 00:18:58.799
we're only limited to six. There's a couple of reasons
388
00:18:58.819 --> 00:19:01.640
for that. One is six is probably the biggest number
389
00:19:01.660 --> 00:19:05.410
that you probably want to work with. And then also,
390
00:19:05.490 --> 00:19:07.049
you know, I'm going to have to shout out that
391
00:19:07.089 --> 00:19:11.529
Lisa in her very organized state sent me a spreadsheet
392
00:19:11.549 --> 00:19:14.210
that included some sponsors. And I would have to I
393
00:19:14.279 --> 00:19:16.720
have to make sure that I acknowledge that. that Heiko,
394
00:19:16.759 --> 00:19:20.000
who makes the soldering irons, actually donated the irons to
395
00:19:20.059 --> 00:19:23.769
the Bauer Center Stained Glass Program. So we are limited
396
00:19:23.809 --> 00:19:26.410
to the irons that we have, but thank you to
397
00:19:26.490 --> 00:19:29.250
them for making them available, for helping us bring this
398
00:19:29.349 --> 00:19:33.230
class and bring this workshop to the Bauer Center. And
399
00:19:33.269 --> 00:19:37.710
then electricity is also one of our challenges. Unfortunately, by
400
00:19:37.750 --> 00:19:40.000
the time you're plugging in irons and grinders, you kind
401
00:19:40.039 --> 00:19:43.920
of run out of plugs and electrical currents. All that
402
00:19:43.980 --> 00:19:45.529
is to say, if you want to sign up for
403
00:19:45.569 --> 00:19:48.289
these classes, I say sooner rather than later is better
404
00:19:48.339 --> 00:19:50.059
Cause I have a feeling they may hit their caps
405
00:19:50.119 --> 00:19:51.119
faster than definitely.
406
00:19:51.180 --> 00:19:52.079
Yeah.
407
00:19:52.119 --> 00:19:54.119
So let's backtrack a little bit about you as a
408
00:19:54.180 --> 00:19:57.500
stained glass artist. What's your, do you have a favorite
409
00:19:57.519 --> 00:19:58.220
piece you've made?
410
00:19:58.759 --> 00:20:03.549
Yeah. Probably I've made this clad off, which if you're
411
00:20:03.569 --> 00:20:08.269
not familiar with that as an Irish totem, usually it's
412
00:20:08.309 --> 00:20:11.170
worn as a ring. So it's two hands that are
413
00:20:11.259 --> 00:20:14.240
holding a heart that's wearing a crown. And if you
414
00:20:14.279 --> 00:20:16.680
wear it one way, that means that you're looking for
415
00:20:16.700 --> 00:20:18.579
a partner. If you flip it the other way, it
416
00:20:18.619 --> 00:20:23.099
means that you are in a relationship, you're committed. And
417
00:20:24.140 --> 00:20:26.119
I decided to make it not because I have any
418
00:20:26.299 --> 00:20:29.359
Irish roots that I know of, but because I was
419
00:20:29.420 --> 00:20:33.259
preparing to sell at a St. Patrick's Day market and
420
00:20:33.559 --> 00:20:36.460
got really inspired. But it's the largest piece that I've
421
00:20:36.480 --> 00:20:39.970
done to date. And I created the pattern from scratch
422
00:20:40.009 --> 00:20:42.289
and had to it taught me a lot about pattern
423
00:20:42.309 --> 00:20:45.230
making what worked and what didn't work um but it's
424
00:20:45.289 --> 00:20:48.960
just probably my most profound piece thus far did you
425
00:20:49.000 --> 00:20:51.579
sell it i still have it i've had a lot
426
00:20:51.599 --> 00:20:55.539
of interest in it um unfortunately glass isn't cheap so
427
00:20:56.259 --> 00:20:58.700
i haven't had to take her yet but i'm sure
428
00:20:58.740 --> 00:21:00.559
it'll find its right home eventually i've had a lot
429
00:21:00.579 --> 00:21:03.190
of people take pictures and ask about the pattern and
430
00:21:03.250 --> 00:21:05.230
if i'd be willing to sell the pattern and such.
431
00:21:05.089 --> 00:21:08.369
But Speaking of glass being not cheap, this is not
432
00:21:08.450 --> 00:21:12.460
necessarily a cheap hobby. And I love to ask this
433
00:21:12.960 --> 00:21:15.519
of knitters and crocheters, but how much glass do you
434
00:21:15.559 --> 00:21:16.660
have stored up at your house?
435
00:21:17.680 --> 00:21:19.980
Yeah, I have quite a bit. I probably have like
436
00:21:22.049 --> 00:21:25.329
probably about like three milk cartons worth, I'd say, like
437
00:21:25.349 --> 00:21:29.089
milk crates. I have to be careful because it's, yeah,
438
00:21:29.130 --> 00:21:31.309
it adds up really fast. Yeah.
439
00:21:31.349 --> 00:21:32.130
How do you find glass?
440
00:21:33.009 --> 00:21:35.759
You can start off really easy at Hobby Lobby. They
441
00:21:35.779 --> 00:21:38.180
don't have a lot of this selection, but it's something.
442
00:21:39.259 --> 00:21:41.640
You can find it on Facebook Marketplace. I've actually gotten
443
00:21:41.700 --> 00:21:44.980
some free donations from a few people that way on
444
00:21:45.019 --> 00:21:50.220
buy nothing groups. But if you head to Richmond, Mojo
445
00:21:50.259 --> 00:21:54.559
Glassworks is a relatively new glass supplier in the area.
446
00:21:55.440 --> 00:21:59.039
And then Up in Maryland, Frederick, Maryland, there's a place
447
00:21:59.059 --> 00:22:01.839
called Anything in Stained Glass, and they're probably the most
448
00:22:01.900 --> 00:22:06.339
premier local to our region for any kind of glass.
449
00:22:06.920 --> 00:22:08.900
I would say that's who we've worked with as well
450
00:22:08.980 --> 00:22:11.309
in getting some of the supplies that you suggested. Fantastic
451
00:22:11.329 --> 00:22:11.900
group to work with.
452
00:22:11.920 --> 00:22:13.190
Yeah, they're really great.
453
00:22:13.829 --> 00:22:15.450
To the point that I accidentally put in the wrong
454
00:22:15.490 --> 00:22:17.950
name on the credit card, and I called them. I'm like,
455
00:22:18.390 --> 00:22:19.769
I don't know what I was thinking. I put in
456
00:22:19.789 --> 00:22:22.430
the wrong name. And they're like, no, we're good. We've
457
00:22:22.450 --> 00:22:24.849
got it taken care of. They're just great to talk to.
458
00:22:24.869 --> 00:22:29.109
Their customer service is great. um going back to the
459
00:22:29.150 --> 00:22:32.410
glasses so how do you pick glass oh what are
460
00:22:32.430 --> 00:22:34.369
the things you have to consider because this is something
461
00:22:34.390 --> 00:22:35.509
i don't know anything.
462
00:22:35.309 --> 00:22:38.190
About yeah there's i mean there's a couple different companies
463
00:22:38.210 --> 00:22:41.799
that make it and some of them are definitely like
464
00:22:41.880 --> 00:22:44.960
fancier than others when you look at it you're obviously
465
00:22:44.980 --> 00:22:48.319
going to start looking at colors you can get solid
466
00:22:48.420 --> 00:22:54.579
transparent um there's wispy there's different textures too so you're
467
00:22:54.599 --> 00:22:56.569
not just looking at the color you're looking at is
468
00:22:56.640 --> 00:22:59.690
it water drops is it waves or ripples is it
469
00:23:00.470 --> 00:23:03.529
does it have striations is there sometimes they'll like melt
470
00:23:03.750 --> 00:23:06.730
sticks of glass into it so it has like these
471
00:23:06.750 --> 00:23:10.630
little stripy bits or there's like a confetti type so
472
00:23:11.490 --> 00:23:15.779
it depends on the project you're working on and and
473
00:23:15.819 --> 00:23:17.539
just I guess whatever appeals.
474
00:23:17.680 --> 00:23:20.250
Yeah So what's your favorite part of the whole process?
475
00:23:20.369 --> 00:23:22.769
Because there's obviously lots of stages and lots of parts.
476
00:23:23.130 --> 00:23:24.630
What is the part that you love the most?
477
00:23:24.880 --> 00:23:29.599
Probably cutting. I used to really dislike soldering, but now
478
00:23:29.640 --> 00:23:31.680
I enjoy it now that I understand it better. But
479
00:23:33.140 --> 00:23:35.359
cutting is just really satisfying. I can get to a
480
00:23:35.819 --> 00:23:37.700
production mode where I'm just cutting and then I have
481
00:23:37.740 --> 00:23:39.539
to tell myself I need to stop so I can
482
00:23:39.579 --> 00:23:41.920
move on to the next step. But it's just really
483
00:23:41.980 --> 00:23:45.490
satisfying to glide the glass cutter across it and then
484
00:23:46.059 --> 00:23:48.259
it does this kind of zipper sound. So you get
485
00:23:48.299 --> 00:23:52.079
that like immediate feedback. Um, and then breaking is just
486
00:23:52.119 --> 00:23:52.799
really enjoyable.
487
00:23:53.549 --> 00:23:57.509
Right. So if somebody was scared to take this class,
488
00:23:57.549 --> 00:23:58.230
what would you tell them?
489
00:23:59.670 --> 00:24:03.410
Um, I feel like embrace the fear. I think there's
490
00:24:03.450 --> 00:24:09.170
something challenging about it that is, um, enticing and, and
491
00:24:09.250 --> 00:24:11.430
also like I do everything I can to make sure
492
00:24:11.470 --> 00:24:15.200
that you're safe and well taken care of. So there's nothing, um,
493
00:24:15.759 --> 00:24:19.079
That's going to harm you. I've got band-aids on hand.
494
00:24:19.099 --> 00:24:20.660
I've got burn gel on hand, but.
495
00:24:20.680 --> 00:24:23.859
You only had one band-aid incident this whole workshop, which
496
00:24:23.940 --> 00:24:24.759
was pretty good.
497
00:24:25.059 --> 00:24:28.859
And it was myself. But that's because I move a
498
00:24:28.880 --> 00:24:32.059
little too confidently sometimes and I just forget it's sharp.
499
00:24:32.119 --> 00:24:34.759
But yeah, I mean, even when you do cut yourself,
500
00:24:34.819 --> 00:24:37.140
it's such a minor thing. It's more like a paper
501
00:24:37.180 --> 00:24:38.619
cut than anything else.
502
00:24:38.759 --> 00:24:41.099
And I will acknowledge that Lisa did a really good
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00:24:41.140 --> 00:24:43.740
job of making sure that we were set up safety-wise
504
00:24:43.769 --> 00:24:48.769
and giving me lots of recommendations of what we should
505
00:24:48.890 --> 00:24:50.690
look at purchasing, what we should look at having on
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00:24:50.750 --> 00:24:53.829
hand to make it easier. So we have the gloves,
507
00:24:53.910 --> 00:24:56.990
we have the silicone mats and the, I don't know
508
00:24:57.079 --> 00:24:59.779
what they're called, the grates. Yeah, the waffle grates.
509
00:24:59.900 --> 00:25:00.960
The waffle grates, yeah.
510
00:25:00.980 --> 00:25:01.759
The waffle grates, yeah.
511
00:25:01.779 --> 00:25:04.299
Those are awesome because you cut on top of it
512
00:25:04.359 --> 00:25:07.220
and all the little shards, the spicy glitter drops down
513
00:25:07.259 --> 00:25:08.920
and then it's not getting into your fingertips. Yeah.
514
00:25:09.529 --> 00:25:12.619
So I appreciate that you had a nod to safety there, too,
515
00:25:12.630 --> 00:25:14.349
because I know that that's for some people, that's the
516
00:25:14.390 --> 00:25:16.769
part that's the scariest. Yeah. Is it feels like a
517
00:25:16.829 --> 00:25:17.829
dangerous art. Yeah.
518
00:25:18.150 --> 00:25:21.349
Even the solder is made out of lead, right? It's 60,
519
00:25:21.349 --> 00:25:23.670
40 tin and lead. And that's a concern for a
520
00:25:23.710 --> 00:25:26.210
lot of people. But I've done quite a bit of
521
00:25:26.269 --> 00:25:28.470
research so that I understand as long as you're not
522
00:25:28.609 --> 00:25:31.390
eating around it, you're pretty much going to be safe.
523
00:25:31.430 --> 00:25:33.609
And then we're obviously washing our hands when we're done
524
00:25:33.630 --> 00:25:36.839
with our project and such. All right.
525
00:25:36.859 --> 00:25:42.230
So. I feel like I've learned a lot about stained glass.
526
00:25:43.069 --> 00:25:44.910
And I'm looking at my time and thinking we're pretty
527
00:25:44.950 --> 00:25:46.569
close here. So, Lisa, I do want to thank you
528
00:25:46.589 --> 00:25:49.759
for taking time to join us today and for sharing
529
00:25:49.799 --> 00:25:52.000
a little bit about your story and a lot about
530
00:25:52.039 --> 00:25:53.920
how stained glass works and how those classes are going
531
00:25:53.940 --> 00:25:56.420
to work. I know our listeners have enjoyed getting to
532
00:25:56.440 --> 00:25:58.259
know you a little bit better, and we're excited to
533
00:25:58.299 --> 00:26:00.519
have you as part of our Bauer Center family now.
534
00:26:01.299 --> 00:26:03.700
I hope everyone listening will come out, meet Lisa, and
535
00:26:03.819 --> 00:26:07.500
take a stained glass class for themselves. As always, there's
536
00:26:07.640 --> 00:26:10.160
plenty happening at the Bauer Center, so if you're wondering
537
00:26:10.180 --> 00:26:12.460
what else we've got coming up, here you go. First,
538
00:26:12.509 --> 00:26:16.210
our National Juried Exhibition, Art in Motion, is currently on
539
00:26:16.250 --> 00:26:19.869
display in our galleries. The exhibit showcases incredible artwork from
540
00:26:19.950 --> 00:26:22.869
artists across the country, all centered around the theme of
541
00:26:22.990 --> 00:26:26.269
movement and motion. Join us for that awards ceremony and
542
00:26:26.309 --> 00:26:30.049
reception this Friday, September 11th, from 5 until 7. It's
543
00:26:30.069 --> 00:26:32.309
always a great opportunity to meet some of those artists,
544
00:26:32.690 --> 00:26:34.990
see the incredible work they're doing, and to celebrate the
545
00:26:35.049 --> 00:26:38.710
arts in our community. The very next day on September 12th, Saturday,
546
00:26:38.750 --> 00:26:42.009
we're excited to welcome Swan Song out of Charlottesville. They're
547
00:26:42.029 --> 00:26:44.880
going to bring together strings and classical piano with contemporary
548
00:26:44.910 --> 00:26:48.319
compositions to create a kind of unique sound, and it's
549
00:26:48.359 --> 00:26:51.400
sure to be a really cool evening of music. Next month,
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00:26:51.480 --> 00:26:53.420
on October 10th, we've got a busy day at the
551
00:26:53.440 --> 00:26:56.680
Bauer Center. Cab Kids Free Family Art Day will feature
552
00:26:56.759 --> 00:26:59.319
the Bremen Brothers, performed by Opera on the James out
553
00:26:59.359 --> 00:27:02.339
of Lynchburg. A wonderful opportunity for families to come out,
554
00:27:02.400 --> 00:27:05.799
enjoy a performance, and spend some creative time together. And
555
00:27:05.819 --> 00:27:08.420
then later that evening, we're excited to welcome back our
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00:27:08.500 --> 00:27:12.109
resident big band ensemble, Big Band of the Blue Ridge,
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00:27:12.420 --> 00:27:14.569
for their concert that you don't want to miss. If
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00:27:14.589 --> 00:27:17.130
you love great music, mark October 10th on your calendar
559
00:27:17.150 --> 00:27:20.069
and come spend that evening with us. Finally, tickets for
560
00:27:20.130 --> 00:27:23.009
our annual fundraiser, The Art of Pairing, Bower at the Bayou.
561
00:27:23.420 --> 00:27:28.170
happening on October 17th. As a nod to our benefactors,
562
00:27:28.329 --> 00:27:32.130
famous Crawfish Festival, Bauer at the Bayou will feature a
563
00:27:32.170 --> 00:27:36.799
delicious Creole menu, an art walk demonstration, and entertainment provided
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00:27:36.839 --> 00:27:38.859
by Music Road Co. And it's going to be a
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00:27:38.900 --> 00:27:44.279
great time. For more details on all of our upcoming classes, events, exhibitions, concerts,
566
00:27:44.339 --> 00:27:48.630
and performances, visit BauerCenter.org, follow us on social media, or
567
00:27:48.690 --> 00:27:51.569
just stop in and say hello. Thank you so much, Lisa.
568
00:27:51.710 --> 00:27:53.579
And thank you for listening to Behind the Bower. We'll
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00:27:53.599 --> 00:27:54.240
see you all soon.