Embossing narrative


Employing special flameproof fiber paper patterns and the heat of her kiln, Lin McJunkin sometimes embosses designs into the back of clear or colored panels of thick, slumped glass in a method called kiln-carving.  Sensual curves of steel, often created in collaboration with Milo White, embrace the glass panels.  She often uses this technique to safely provide strong details for the natural and human history themes of her larger public art commissions in collections and on exhibit in towns from Coeur d’Alene, Idaho, to Tucson, Arizona.



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January 5, 2016 | Comments Closed