Newy Fagan Studio

Newy Fagan Studio Fine Art Glass Creations
Kilnformed Glass mosaic horses
Contact 352-288-1426 [email protected]

https://www.newyfaganstudio.com/

07/04/2026

https://www.newyfaganstudio.com

History of Kilnformed Glass

Many sources place the origins of glass forming to around 2000 BC. The Egyptians and Romans were certainly some of the most prolific glass formers and examples of their work can be found in many museums. Studying early glass objects allows us to document the use of the fusing process. Fusing flourished in the form of decorative wall tiles, jewelry and intricate bowls from 1500 BC to around 500 AD.

After 500 AD and to around the 1900's, glass blowing became the desired forming method. There are very few fused pieces from this time, with the exception of the "Pate de Verre" process. This process fuses crushed glass in a mold and was popular in the Art Nouveau period. Henri Gros' work is a great representative of work from this period (1880-1920).

Glass blowers of the time period did use some fusing techniques to attach designs to their vessels. However, their main desire was directed towards the rapidly increasing utilitarian market for glass. It is because of this shifted priority that fusing has taken so long to flourish again. When the rest of the glass industry experienced rapid technology growth during the Renaissance, fusing was not so lucky. In the 4000-year existence of glass forming, the first 2000 was rich in the development of fusing. That is unfortunately not the case of the second half of the 4000 years.

Around 1935, glass enameling, glass slumping and occasionally fusing reappeared. Glass was abundant in the forms of inexpensive window glass all the way to glass bottles. This resurgence was started by small clumps in the USA and continues to flourish.

30/03/2026

2 years later 🗓⏳👣at the Marietta Museum of Art and Whimsy
Marietta Museum of Art & Whimsy
Marietta Museum-Art & Whimsy

My cousin Mary and me at her museum in Sarasota.The Marietta Museum.of Art and Whimsy.I will be back December 11 and 12,...
21/03/2026

My cousin Mary and me at her museum in Sarasota.The Marietta Museum.of Art and Whimsy.I will be back December 11 and 12,2026 for another round of presentations.It is as much a museum for kids and teens and adults of all ages The gardens inside the walls are spectacular.
In it's former life,the place was a retreat for Buddists monks.
I felt the serenity.I particularly like the stands of aged black bamboo.Just amazing place.

06/03/2026

https://www.newyfaganstudio.com/about-newy

I entered the art world at a young age with a passion for drawing. Being raised on the shoreline of Connecticut provided ample opportunities to study with artists whose styles ranged from traditional realism to abstraction. They became my role models and by the time I headed off to study art at Southern Connecticut State University.

Throughout the early years, I also developed a passion for horses. My family owned a small farm and to have a horse meant the world to me. I had to learn the value of a dollar and earn the upkeep. Faced with that reality, I found it only natural to teach art to kids younger than myself, give riding lessons and work at the local art supply store.

After graduation from college, I taught elementary art (K-6) for two years in Killingworth, Connecticut. The program was a huge success, but my ambition was to be a painter, a true professional artist. I spent the next five years at the easel.

During this time, Tiffany windows became antiques and the stained glass industry in America began to experience a renewed interest. I saw evidence of glass items being displayed at some of the juried outdoor art shows where I was exhibiting my canvases. I met Millicent McKee of Thendara Studio in Oxford, Connecticut. She introduced me to glass and my life took an unpredicted turn. I progressively spent more time at the glass bench and less time at the easel. The year was now 1977.

Millicent traveled to the trade shows and commented that Bullseye Glass Company (a new manufacturer in Portland, Oregon) who was producing beautiful hand cast art glass for the stained glass industry, was also talking of renewing ancient glass processes that involved fusing glasses in a kiln. Millicent was a china painter and I had been involved with firing clay and had a small kiln for wax burnouts for lost wax jewelry processes. There was one big problem, though. We didn't understand how crucial compatibility and annealing was, thus most attempts were disastrous. I continued to work with glass and had more luck with painting and firing glass.

Within a few years, I moved South to live in the Ocala National Forest in Florida and met a person with a studio that was bringing glass artists to study with. I requested someone to teach fusing and, in 1982, Tim O'Neal came from Portland, Oregon to give that first infamous workshop in the Southeast.

The kilnformed glass movement had begun. I acquired the 28th kiln sold through Bullseye, especially designed with elements in the ceiling for firing glass. I an very grateful to Boyce Lunstrom (one of the original partners of Bullseye Glass) for initiating the rediscovery of the early glass forming techniques and to Bullseye Glass, for initiating the rediscovery of the early glass forming techniques. Now, Uroborous Glass Studios (also in Portland, Oregon) offers " tested compatible" glass, too. Boyce eventually opened Camp Colton in Oregon to those interested in pursuing these techniques and I had several great sessions there along with others from all over.

The movement has spread world wide and I believe glass has become the major impact in the history of art in this century. I have been working with glass for the past 30 years and have enjoyed teaching these processes at various workshops around the country or at my home.
~Newy

15/02/2026

This new herd is heading to Van Gogh’s Ear Gallery Prescott, AZ Van Gogh's Ear

https://www.newyfaganstudio.com/post/blue-horse-head"Blue Horse Head", 1989,  5 feet high by 3 feet 3.5 inches wide.Dall...
23/01/2026

https://www.newyfaganstudio.com/post/blue-horse-head

"Blue Horse Head", 1989, 5 feet high by 3 feet 3.5 inches wide.

Dalle de Verre, Iron and brass framework by Jack Klahm, Klahm and Sons.

"Blue Horse Head", 1989, 5 feet high by 3 feet 3.5 inches wide.Dalle de Verre, Iron and brass framework by Jack Klahm, Klahm and Sons.Price: $8,000.00Contact Newy for shipping options.

Fire & Frost - Chelsea Art CenterOpening Reception Dec 7th 2025 2-4 pmClosing Jan 23rd 2026Gallery Hours Mon - Sat 11am-...
02/12/2025

Fire & Frost - Chelsea Art Center
Opening Reception Dec 7th 2025 2-4 pm
Closing Jan 23rd 2026
Gallery Hours Mon - Sat 11am-3pm

I have the last two horses I've made in the show, #8914 and 8915,and I hope to see you there

Welcome to Newy Fagan StudioSome pieces laying around the studio.The twists mask from 1991,a dressage silkscreened sampl...
30/11/2025

Welcome to Newy Fagan Studio

Some pieces laying around the studio.The twists mask from 1991,a dressage silkscreened sample,and an orca

https://www.newyfaganstudio.com

The glass Ive used since 1979. They were up against or with outstanding competition.
25/10/2025

The glass Ive used since 1979. They were up against or with outstanding competition.

3rd Place People Choice Award 2024
15/10/2025

3rd Place People Choice Award 2024

Adresse

Luxembourg

Notifications

Soyez le premier à savoir et laissez-nous vous envoyer un courriel lorsque Newy Fagan Studio publie des nouvelles et des promotions. Votre adresse e-mail ne sera pas utilisée à d'autres fins, et vous pouvez vous désabonner à tout moment.

Contacter L'entreprise

Envoyer un message à Newy Fagan Studio:

Partager