Carmi Katsir

Where did you grow up and where else have you lived?

I grew up in West Bloomfield, Michigan and graduated from Western Michigan University where I studied Paper and Printing Science. I then moved to San Francisco and worked at creative agencies before moving to Maine in 2013.

Did you attend schooling for your art form? If so, where?

No, glass was something I started learning at home. My father is a Stained Glass and Fusing artist so I was exposed to the world of glass from a very young age but it wasn't until I discovered Flameworking and Glassblowing as a teenager that I became hooked. Since then I have dedicated ten of thousands of hours learning the artform.

What initially drew you to the world of art, and how did your location and environment at
that time influence your creative path?

Growing up in a family with an immense love for art, our vacations revolved around visiting museums, archaeological sites, and craft shows. As I started producing my own artwork I grew to appreciate my initial exposure and now have the privilege to emphasise art with my kids.

How does the natural beauty of Maine inspire your artistic vision?

While exploring the Maine woods, lakes, and beautiful coastline my mind is a little quieter, the noise of the unimportant stuff falls away and I feel reminded of the scale of time and connection to the past, present and future.  It is hard to say how this gives me artistic vision but I think it leaves space for it. 

What is your favorite season here in Maine? How does the shifting landscape and
weather patterns impact your artistic practice throughout the year?

Without question Autumn. The days are filled with summer activities but the nights are crisp and perfect for glassblowing.

What artist/maker do you admire and why?

I admire artists that share knowledge and build community. In glass... David Jacobson, Edward Schmid, Boyce Lundstrom, Lino Tagliapietra, and Bill Gedenrath to name a few.

How would you describe your artistic style and what drives you in that direction?

In designing my glassware I blend styles of the 60's and 70's glassware with a modern approach to function. My larger vessels mix graceful forms with complex and interwoven lacey patterns of colored glass. I strive to have my work catch your eye from afar and continue to reveal mesmerizing detail upon close inspection. Similar to fractals in nature containing detail at various scales.

Beyond your artwork, what other passions or interests do you pursue, and how do they
intersect with your creative practice?

I enjoy spending time with my family, cooking, snowboarding, reading science journals, building tools, and innovating processes. All my pursuits intersect with glass because I think about glass all day long. For example, after watching a glass slip out of my daughter's hand I consider how to design glassware with grippy features.

How have you seen your work evolve over time, and what do you hope to explore in the
future?

Blowing glass is incredibly difficult and I am dedicated to a lifetime of learning. My skills and interests are constantly evolving, And I believe as an artist my job is to leave myself open to explore anything that leaves me curious.

What is your favorite restaurant in Maine?

Long Grain, Camden.

Where is your favorite outdoor location in Maine?

A woodfired sauna, on an undisclosed lake in Midcoast Maine.

Anything else you’d like to share with me about you personally, your process, your vision
for the future of your business?

I am the Co-founder of Waterfall Arts Glassworks, the only public access glass studio in Maine and one of the only studios in the world powered by waste vegetable oil. Beyond my own artwork, I love teaching and giving others the opportunity to try glassblowing.

Creating my glassware does not start with glass, it starts with a 3D printer and harvesting a cherry tree. I design my glasses using 3D modeling software and iterate the shape by printing versions with a 3D printer until I am satisfied. Then use a CNC router to carve that shape into a cherrywood blow mold. The glass is blown into the wood mold. This process allows me to create repeatable shapes and beautiful sets of glassware. It is a very involved process that makes my work distinct.