I’ve explored a number of facets in the arts world over the past two decades before focusing on metalwork in my studio at the Northrup King Building in Minneapolis. I received my B.A. in Painting and Drawing and an M.A. in Art History. In 1998 I moved to San Francisco where I began working with metal, focusing on fabricating and bronze casting at the California College of Arts where I eventually working as a Teaching Assistant. I then taught my own Sculpture/Welding classes at The Crucible in Berkeley. I also had the privilege of working for the studios of Marilyn Levine, Clay Jensen and Peter Voulkos during this time.

Since mid-2003 I’ve been developing different series of work out of my studio in the NKB, such as the Earthworks and Compartment Series, as well as accepting commission work, custom furniture and fabricating jobs, and teaching at Minnetonka Center for the Arts.

Tectonics #3, 48x30, steel, patina, $8595

Earthworks #2, 48x30, steel, patina, epoxy, $4800

Full Circle #6, 30x48x10, steel, patina, $10,500

My work is based on line and the act of drawing. I use wire in place of charcoal or pencil to create three-dimensional drawings for the body and wall. The work is inspired by interior and exterior architectural structures such as bridges and telephone towers. It is important to me that an object function both on and off the body. These pieces when not being worn are meant to hang on the wall by a single nail as a drawing floating in space

Red Triangle Sculpture , 22x23x11, powdercoated steel, $4250

Blue Square Sculpture , 27x23x10, powdercoated steel, $4250

Black Rectangle Sculpture , 32x19x9, powdercoated steel, $4250

A systematic array of lines, textures, and volume; combined with a fascination of nature and technology are the driving forces behind my creative process.

The evolving objectives for my body of work center around subtle, momentary disruptions of everyday reality. The desire for these disruptions is a core belief that every moment of life and our world is precious.

Conduit #1, 4x18x5, concrete, steel, $650

Modulator #12, 40x60x12, walnut, bronze, canvas, $4500

Modulator #2, 36x60x14, maple, walnut, bronze, $5400

In working with found objects I am very involved in process. The pieces may be sewn, hammered, welded or bolted together. I try to use them objectively and though I appreciate that reusing materials helps better the earth, my art isn’t quite meant as a “green” platform. I am merely trying to see beauty in the objects no matter how unwanted they may appear. I don’t have to worry about having enough materials, I just have to worry about how to put it all together to evoke more ofan understanding. My cornerstone might be a twisted piece of plastic, something so mundane or something very valuable.

Punk Pony, 30x15x26, mixed media, $4800

Rambler, 16x19x12 mixed media, $1850

Viennese Pachyderm 36x28x26, mixed media, $5400

a few words on my prayer tree sculptures

first, a correction. most folks mistakenly think that they are comprised of nails pounded into logs. that is just the meat level of their existence. they are, in actuallity, comprised of prayer and meditation. for each nail pounded into a log either a prayer, an affirmation, or my sanscrit mediation mantra is uttered, either silently or aloud. (initiated and trained by a hindu teacher, swami venketesananda, in 1969 i have been meditating daily for 51 years now. meditation is the core base of my life. without it i have no doubt i would be dead.) when i pound the nails into logs (pine preferably, and knotty to prevent splitting) i move into a no mind space, a spaciousness where thoughts, if they arise, simply pass thru my mind but do not settle there nor attract focus or even attention. thus, i sit in a peaceful emptiness for much of the time i am nail pounding (usually 30-45 minutes a session). i do NOT make aesthetic decisions while nail pounding these sculptures, that part of my mind is not active. all placement decisions are made intuitively in concert with my hands. and having been in the construction trades for 15 years (or more) including time spent doing carpentry, my hands are very talented. there is a flow to all this… and it happens pretty much on its own.

in the last five years however the production of my prayer tree sculptures has diminished greatly. back problems make it difficult for me to sit on the floor to work and difficult for me to handle doing so much nailing. additionally, i have also had to cope with tennis elbow and neck problems while doing this work. (as of this writing my back and my health in general is getting much better, mostly thanks to a combination of weight training, cardio, yoga, meditation and massage.) in the meantime i have been doing other more transient forms of prayer sculpture, including ofrendas (altars) for the dead for dia de los muertos, prayer flags/rag strips or ribbons tied to tree branches with singing and praying accompanyment (bhajan), and stupa-like sculptures made of rocks along the shores of the mississippi (plus chanted prayer). none of these sculptures are meant to last or to be for sale. they are temporal, thus accenting the prayer based nature of their being.

Prayer Tree 3, 12x48x12, mixed media, $4500

Prayer Tree 10, 11x10x10, mixed media, $850

Prayer Tree 11, 24x14x14, mixed media, $3200

My early work was heavily influenced by Venetian glass blowing
techniques, thin glass with bright colors and extravagant accents. Achieving my technique has been a journey in technical precision.
My style greatly shifted while working in Scandinavia. While there,
I learned from artists who have mastered the art of subtle, quiet
beauty. They create for their friends and neighbors, in natural colors
with classic forms, and that is where my style is influenced today.
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Vases and a Bowl, various sizes, hand blown glass, $120-$280

Tall Cup, Wine Glass and Decanter, various sizes, hand blown glass, $48, $45, $180

Pitcher, Tall Cups, various sizes, hand blown glass, $220, $48

The sculpture here is a direct descendant of the jewelry though some of the assembly aesthetic can be seen in the base of Contrails. The jumble of wooden components inspired the construction of the jewelry. Similarly, color has been introduced in a way that I’ve been hesitant to explore. Color does not come naturally for me and the majority of my sculptural work is left in its natural form, allowing the beauty of the material to show through. It was my sculpture professor in college, Nan Rainey, that imbued this aesthetic into my brain. Her gorgeous wooden sculptures were always left natural and it is something that I’ve only recently begun to challenge; sorry Nan! In many ways however, the sculpture is large scale jewelry, adorning space, rather than the body.

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Snow on the Woodpile, 49x25x7, wood, acrylic, $5400

Who’s the Victim, 17x17x6, wood, $1950

My woodworking is an exploration of how functional furniture and accessories can be elevated to a higher level. A self-taught woodworker and lifelong student, I utilize traditional and modern techniques and tools to create works that will last for generations.

My objective is to create furnishings and accessories that bring an original perspective to the world around us. I allow my curiosity to lead me into a varied array of projects and techniques that broaden my understanding and appreciation of wood. From intricate veneer parquetry to finely crafted boxes and furniture, to carved sculptural boxes, wall hangings and decor pieces. It brings me deep personal satisfaction to know my art brings subtle moments of joy to their owners.

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Oceanic Table, 24x28x14, sugar maple, alcohol dye, oil stain, polyurethane, $3450

Oceanic Box VI, 2.5x7.5x4, cherry, milk paint, hard wax, $450

Oceanic Box VIII, 5x8x4, poplar, milk paint, alcohol based finish, $595

Oceanic Series Boxes, various sizes, various woods, milk paint, alcohol based finish, $395-$595

In the Mid-Western region, we face many water quality issues associated with intensive agriculture and tile drainage. Several years ago, after interviewing a U of M Soils Science graduate student, I was alarmed but also fascinated at the severity of these issues and how little we as a community know or care about our most vital resource. With this idea and concern in mind, I began exploring ways that I could express these problems using blown glass. Over time, I discovered that glass is a beautiful medium to represent water, allowing me to capture a moment in time like a sculptural photograph. This series highlights the natural beauty of our most vital resource while being framed and contrasted by industrialization. Being heavily influenced by the pioneer of high-speed photography, Harold Edgerton, these sculptural snapshots are intended to stop the world around you even if it is just for a moment.

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Indispensable II, 23x7x5, hand blown glass, iron, $2250

Leaky Pipe XI, 13x5x5, hand blown glass, iron, $850

Ripple Effect III, 14x14x4, hand blown glass, $950

Emily McBride is a craftsperson and educator producing handmade glass in Minneapolis, MN. She has been working in blown glass for 15 years and designs decorative objects for the home inspired by minimalist aesthetics and the luminosity of light. The phenomena of refraction and optics are highlighted in her wares through a palette of vibrant colors complemented by subdued tones.

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Branch Series , 18x12x12, hot-assembled hand blown glass, $695

Salt Cellars , 4x4x3, hand blown glass, $79 each

Decanter & European Wine Glass, various sizes, hand blown glass, $160 & $49 each