The installation went smoothly and with no major mishaps. The potluck was wonderful and I was so glad to be able to introduce my family to the great people I have met and worked with here.
I am pleased with my work, and upon final inspection after installation, found nothing I would change. Often I am my own worst critic.
I will always remember this experience and all the people who helped make it possible. I am a lucky woman indeed.
The project installed!
Final panel
I begin to cut the final panel of this project.
This piece features the bristle-cone pines growing from the rocky slopes, the Wheeler Peak snow-field/glacier and a final branch of golden aspen leaves.
At this point I can’t wait to have the whole series out of my cabin windows and installed permanently at the visitors center. Until that is accomplished, I will be anxious.
The park is hosting a potluck on Nov. 13th for the presentation of the project. By then my husband and son will be here to spend a few days and help me pack up.
Deer and artifacts
The next panel depicts deer, the base of the peak, more fall foliage and Indian artifacts found in the park. I was able to tour with the park archaeologist earlier in my residency, and used one of the petroglyphs we saw in my design.
The remaining four panels include the three largest, and even though my palette is determined and I have plenty of materials, I am certain I will need additional time—which the park readily grants me. I now have until November 15 and I feel much relieved.
Mountain peak and sky
The "heart" and other features
I finish the mountain peak and sky, and start on the three final panels. Each of these has icons of the park included not only in the main body, but in the self-frame margins as well.
The panel with “The Heart of the Mountain;” a geological feature, includes the other half of the cave portion, as if the cavern is hidden under the mountainside. Also included are fruits from the pioneer orchard. The native pine & brilliant fall aspen complete the piece.
My final draft is approved by members of the staff; I immediately make my patterns and begin cutting.
This part will progress rapidly, as I can work at my own speed, for as long each day/night as I wish. I have brought 1½ crates of glass with me, as well as many boxes of scrap, so am confident of having all types and colors I need.
First and second panels
Third panel
The first panel I produce includes Indian Paintbrush, a lizard, an Indian relic and Notch Peak. I have designed a “self-frame” around the entire project; I use it quite frequently as I find it gives a finished look to the work.
The second panel—the smallest—is of the Big Dipper, symbolizing the “Night Sky” program featured in many of the National Parks, honoring dark skies, which are becoming a rarity with today’s light pollution.
Fourth panel
The third depicts Lexington Arch and a portion of Lehman Cave, and the fourth is the “Thumb”, the cliffs and sky above that part of the summit.
I am pleased that the finished panels fit into the windows of my cabin, where they will remain until installation.
Even with the freedom from my normal daily life, and being able to set my own work pace doing what I truly love doing, I am beginning to see that it will be impossible to finish this project in the time allotted to me.
I begin work on a final drawing to be submitted next week for final approval. I have designed each separate panel to flow into the next, so that all will be part of the whole.
This project is an eight-panel window opening, and a great composition to design within. I am up most mornings before the sun and take time to enjoy the wonders of this area.
Since I live in the shadow of the mountains, the evening falls early, but most days are pleasant enough so that I can work outside for a while and I have frequent visitors wanting to see how the project is progressing.
It has snowed twice, although it melts away by the afternoon.
A highlight this week was being invited to attend the Great Basin Foundation open-house and dinner, where I was introduced to many members, some of whom were instrumental in this area becoming a national park, and have come from out-of-state.
In June 2008, I received notification that I had been chosen to be Artist-In-Residence for the coming fall at Great Basin National Park in Nevada. Having served as AIR the year before at Mesa Verde National Park here in Colorado, I was honored & excited to be going a bit farther afield.
A few weeks later, GBNP contacted me again; asking if I would consider designing and installing approximately 33 sq. ft. of permanent stained glass into windows in their new visitor center, instead of donating a smaller piece of portable work as is required by the AIR program. Because of the size of the work, the park would buy my supplies, and my work would be my “donation.” We also agreed that my residency could be extended, if need be.
Since I had never been to the area before, I was sent numerous photos and information so I would be able to chose my palette in glass. Thus began one of the greatest adventures and biggest creations of my career. More in the pages following.