Verre Églomisé by Marybeth Ting

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My goals are to bring a modern and functional take to verre eglomise by combining more fluid nature motifs that represent the temporal essence of life with geometric patterns and textures using a variety of traditional methods.

05/12/2026

Gold leaf is thinner than a breath can survive. The knife that cuts it hasn’t changed in three centuries.

Some tools stay because they work. This one stayed because the answer arrived early.

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05/12/2026

The gilder’s tip picks up gold leaf by static charge alone. Horse hair, charged against air, lifting something that weighs less than a thought.

The gesture is 300 years old. The hand holds the intention.

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04/17/2026

Gold leaf at 0.1 microns thick — a single breath mid-application displaces it.

Mother of pearl, cut to fragments and placed one by one against the reverse face of glass.

Each layer committed without the ability to see the front face while the work is in progress.

The panel accumulates one irreversible decision at a time, toward a surface the maker never fully sees until the work is done.

What the camera shows you is a fraction of what the room does. The geometry shifts with the hour. The metals read differently in morning light than they do at dusk.

A surface built this way doesn’t recede into the room. It holds a position.

Discover more at marybethting.com
Inquiries at [email protected]

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STRATA • LINEA+LUSTRAA century of surface language, compressed behind glass. MARQUISE borrowed from the jeweler. SPIRE f...
04/14/2026

STRATA • LINEA+LUSTRA

A century of surface language, compressed behind glass.

MARQUISE borrowed from the jeweler. SPIRE from the architect. STRATA looks to the decorator — the one who understood that ornament at its most considered stops being surface and becomes structure.

The surface was never background — it was the room's final statement.

Made with 22-karat gold leaf. Silver. Reverse-gilded on glass.

Discover more at marybethting.com
For inquiries: [email protected]

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SPIRE • LINEA+LUSTRAThe line that refuses to end until it has made its point. Height is declaration. Verticality compres...
04/09/2026

SPIRE • LINEA+LUSTRA

The line that refuses to end until it has made its point. Height is declaration. Verticality compressed into a gilded plane, each line drawing the eye toward a point that exists beyond the glass.

Hand etched 22k gold leaf, silver, mixed metal leaf, reverse-gilded on glass.

For inquiries: [email protected]
Discover more at marybethting.com

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04/02/2026

The light hasn’t settled yet.

In 1925, the sunburst became the defining geometry of an era. The motif was everywhere because the obsession was the same — making energy visible, drawing light as form. Every attempt produced something beautiful.

The limitation was always the material.

When a surface shifts with the hour, it stops being a specification and starts being a presence in the room

Discover more at marybethting.com

For inquiries: [email protected]

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MARQUISE · LINEA+LUSTRAThe marquise cut was not designed for beauty. It was designed to make light travel a specific pat...
04/01/2026

MARQUISE · LINEA+LUSTRA

The marquise cut was not designed for beauty. It was designed to make light travel a specific path. This panel follows the same argument.

Hand etched linework in 22k-karat gold leaf, reverse-gilded on glass.

For inquiries: [email protected]
Discover more at marybethting.com

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03/23/2026

Loose, uncommitted, still deciding.

Gold and silver leaf fragments. This is the material before the glass gets involved — before the adhesive, before the burnishing, before the surface becomes permanent.

Verre eglomise, handcrafted in Toronto.

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03/17/2026

The panel doesn’t begin with gold.

It begins with the decision that determines how the finished surface will answer light.

Gold leaf for warmth and depth.

Silver for cool luminosity.

Mother of pearl for the quality that moves differently from both.

Three materials. Three behaviors. One empty panel waiting.

The surface shows you nothing of what was chosen here, or why. It only shows you what the choice became.

Discover more at marybethting.com

For inquiries: [email protected]

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03/12/2026

LINEA+LUSTRA began with geometry held still.

Now we’ll explore what happens when it moves.

Discover more at marybethting.com

For inquiries: [email protected]

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02/27/2026

In 1925, these surfaces lived across entire rooms. The gilded walls, the lacquered panels, the geometric inlays.

STRATA represents what happens when you compress a century of that surface language behind glass.

Discover more at marybethting.com

For inquiries: [email protected]

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Toronto, ON

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