Today we’d like to introduce you to Eric Mort.
Eric, we appreciate you taking the time to share your story with us today. Where does your story begin?
As a kid I was very interested in art. I always had a sketchbook with me, and was forever getting into trouble at school for doodling in class. Well meaning teachers and relatives encouraged me to pursue education in technology/science since art school was for “rich kids” or people who wanted to teach art. So I ended up studying electronics engineering and computer science and worked in that field for over 20 years. However, in 1994 I was collecting trade beads at a flea market in Quartzite Arizona and came across two artists creating glass beads, bracelets, and sculpture in front of a torch. I was mesmerized watching them manipulate molten glass into beautiful objects, and I purchased a simple how to video from Lewis Wilson and started creating beads.
I did my first show in 1996, but had to shelve any plans to transition into full time torchworking as we had just had another child and I felt that I needed to put their needs first and keep my focus on my corporate IT job. Glass working became a hobby until 2005 where I hit my limit with the stress and unpaid overtime required by the IT world and left the corporate world to pursue my dream of supporting my family through my glass creations. Thankfully, I am married to a very supportive woman who supported my passion.
I now create pocket galaxy meditation spheres from borosilicate glass and precious metals using the ancient art of flameworking. I then cold-work and flamework select pieces to reveal hidden blackholes, solar systems, and galaxies. I utilize opals for planets and moons, and multiple layers of precious metal foils, fumes and powders to create nebulas and star nurseries. Multiple celestial scenes are revealed as each piece is rotated in hand.
I’m sure it wasn’t obstacle-free, but would you say the journey has been fairly smooth so far?
Well, it has been an exciting ride, but the road has definitely been very bumpy at times with the occasional washed out bridge to navigate. LOL I think one of the most difficult things about being an artist is coming to terms with the fact that nobody “needs” what you make. It is a “want” and when times get tough, art is one of the first things people stop purchasing. You need to be smart about the business part of being an artist. You need to make sure that you save enough to take you through the lean times. You need to build a display that will hold up through wind, rain, hurried setups and breakdowns, etc. And, you need to find venues that work for what you create. I have done over 350 art festivals in the last 21 years and exhibited in 24 states, and I am always adjusting my schedule and trying out new events. Being on the road so much can be stressful on a family, but the nice thing is when I wasn’t on the road I was working in my home studio so was able to spend a lot of time with my wife and three daughters. Each of my daughters has functioned as my assistant at shows and spending time with them on the road has been a great experience. They may get tired of the dad jokes at times, but we have had a lot of fun and seen vast sections of the USA.
Appreciate you sharing that. What else should we know about what you do?
I have always been fascinated by Astronomy and am a bit of a sci-fiction nerd, so I guess it isn’t any surprise that would show up in my creations. It probably doesn’t hurt that one of my tech jobs was with the NASA Ames research center in the California bay area. LOL I now create Pocket Galaxy Glass Meditation Spheres that you can get lost in when you are stressed out or just need a break from life’s distractions. As you rotate each piece by hand, you will see black holes, nebulae, comets, planets, moons, stars, and all sorts of other celestial objects. When I first started doing art festivals it was a real challenge since flameworked glass was looked down on by a lot of the glass community, and getting invited to quality events was difficult. In fact for the first 10 years of doing shows, I never came across another artist who was creating glass spheres with a torch. I like to think that by educating show directors and juries about the process that I helped open up the art festival market to more flameworkers.
In terms of your work and the industry, what are some of the changes you are expecting to see over the next five to ten years?
This is a really great question, and one I am currently trying to figure out. A lot of artists who do art festivals are getting up there in years. It is a great career, but can be hard on your body and psyche, and I am starting to hit the age where things don’t work the way they used to. We need to bring new blood into the system, but we also need people to continue going to art festivals to keep this career path viable for the future. I have noticed that shows haven’t fully recovered since the Pandemic, but I hope that they do eventually.
Pricing:
- $95-$6000
Contact Info:
- Website: https://www.ericmort.com
- Instagram: https://www.instagram.com/ericmortartglass/
