Anne Ryan Miller

Anne Ryan Miller
Anne Ryan Miller Glass Studio
(guest artist with Amanda W. Mathis)
Stained glass/metal overlay and transformed photography

anstmiller@aol.com
AnneRyanMillerGlassStudio.com

    

Anne Ryan Miller uses the ethereal qualities of glass to remind us how mysterious, beautiful and subtle nature can be.

She has developed a unique and personal technique of metal overlays soldered over glass.  This technique allows her to capture the haze of Brown County’s hills and the shadows of its woodlands.

“I have lived in Brown County for many years,” says Anne.  “I was drawn to the amazingly soft, sensual beauty of the area.”

This beauty continues to inspire her landscape and wildlife motifs, which, when created using her metal overlay technique, result in shadowy, misty images with strong silhouettes and enormous depth.

The technique is unusual, and Anne feels it is important to explain it to those who haven’t seen it in person.

“I start out by going directly to the sheet glass manufacturers,” she says.

She looks closely at each individual piece of glass, choosing only those she finds most interesting, since they become the background, or “canvas,” for the metal overlay work.

Each design is then drawn right onto the glass, and she then hand cuts metal shapes for the overlays.

“I can hand cut very intricate designs,” she says.

Anne then applies metal to both sides of the stained glass, creating a strong silhouette on the front of the piece, and a misty or distant effect on the back.

“The diffusion of light around the metal creates the effects,” she explains.

To finish a piece, Anne solders over the metal to build texture and interest on the surface, then patinas the metal with copper, bronze and blue/black tones.

In recent years, Anne has branched out into what she calls “transformed photography.”

“I take my photographs into the computer and alter them,” Anne explains. “There are many steps of transformation, plus a lot of surprises.”

Anne prints the final artwork with archival inks on canvas, acrylic, metal or metallic paper.

“In the end, the images remind me of the glass work I do,” Anne says. “I consider this approach to photography a bridge between my nature photography and my stained glass.”

Many of the final images are reminiscent of Anne’s metal overlay process, and they are always “in process.”

“How something gets printed one time may not be the same for the next printing,” Anne explains.