Marcia Truell Newren holds a Masters Degree in Anthropology from the University of Colorado, where she specialized in prehistoric architecture, and was involved in archaeological excavations in the Southwestern United States, Canada and Mexico. For six years, she was the studio assistant to an internationally recognized glass sculptor. In 1996 and 1998, she attended Pilchuck Glass School in Stanwood, Washington; and, in 1999, studied at the studio of the Corning Glass Museum in Corning, New York. She has taken classes in studio arts and Art History at the University of New Mexico; and in lithography, at La Corte della Miniera near Urbino, Italy. In 1999, she was nominated for the Corning Award through Pilchuck Glass School. She lives in Corrales, New Mexico, and currently works full time as a glass artist.
A glass blower once told me that he had an instructor who told his pupils that he would not let them use color until they could achieve a perfectly formed vessel in clear glass first.
Although I came to recognize this on my own after using color for some time, my interest in developing three dimensional form in fused glass led me to understand this perspective eventually, and not simply as a tutorial directive. However, rather than denying color entirely, I calmed it, using it for contrast, shading and accent. Now I am working back to introducing more of it, a bit at a time, to determine at what stage it takes control again. My instinct is that color grabs the reins almost immediately.
The kilnworking technique of fusing and slumping often emphasizes single surfaces, even when used sculpturally. By forming continuous planes of luster and texture, the vessel group I have been developing draws the observer around the forms. And the lack of translucence and restricted color range, combined with the capabilities of this technique, lend a surprisingly substantial and architectural quality.