Miriam Di Fiore
Her Extraordinary Art and
Glass Art has rarely reached this level of
sophistication and appealed to so many.
The appeal is beyond the
technical challenge. It is the resultant object
that is mesmerizing.
People get easily attracted to Miriamís signature landscapes.
However, when they realize that these are NOT paintings or photos, the attraction
becomes a love affair.
The final decision for art lovers to acquire a Miriam usually comes when they
learn of the
stories associated with each object.
There is a story about the photographed site,
challenge in translating it to glass,
and the meaning of the object encasing the glass.
Until few years ago, each Object had a
Time constraints have silenced the Poet
The niches for the fused glass are of different categories.
Drawers are the most frequently used objects.
It is not a mere drawer supporting the glass panel; it is a
Dream in a Drawer.
Drawers are places where Miriam has saved her
precious memories, and hidden her nightmares.
Another frequently used object is the Saw (her
It is not only symbolic of tree killing, it is an overall
symbol of violence.
Miriam is as multifaceted person as her
She seamlessly moves between photographing a memorable
crystallizing this memory in glass and
incorporating the glass in
the appropriate niche.
If she does not write a poem, it is a short story about the whole experience.
The result is one artistic expression layered over
another, and another, and another...
Miriam's Work evolved beyond her signature Objects
encased in found objects
becomes the paint
enclosed within thick Cast Glass.
A recent example is
Sunset Seed where she challenges
herself with red, a color difficult to work with in glass
Pate de Verre Leaves and Petals, incorporated
in dimensional Sculptures
This Work will be introduced at SOFA Chicago, November 2010
An example of the Petals is in
As an art connoisseur, and a collector, I am the victim of this Art,
and feel privileged to have introduced it to the American Art
initially written, October 19, 2004
revised, June, 2010