In Svalbard, where the glaciers are retreating faster each year, I began working with stained glass as a way to capture what’s vanishing. Field Notes in Glass and Ice is a series of glassworks created during a residency, shaped by the textures and light of the Arctic. 

The process is both intimate and field-based: I landed at various locations around the archipelago with a glass cutter, marker, panes of colored glass, and a small table, collecting impressions of meltwater, sediment lines, and fractured ice.

 I cut glass in the field and then completed the pieces on board tall-ship sailboat Antigua with copper foil and solder.

The glass becomes a way to remember the glaciers: for the creak of ice underfoot, the sudden hush of fog on a ridgeline, the impossible blue of the ice in the low light.

 These works are not meant to be exact representations, but emotional records—how it felt to witness something ancient dissolving.

As a queer environmental artist and researcher, I’m drawn to transitional landscapes and processes that resist permanence. This work lives at the intersection of observation, loss, and science. In translating the Arctic through stained glass, I hope to offer not only a visual language for environmental grief—but also a quiet call to notice, to care, and to remember.