One day, out of the blue, as the expression goes, I got an e-mail from a Leo Duval asking me if I would be interested in showing my work at his London gallery. Is this a scam, a hoax, spam? Red flags were up. Leo told me his gallery, Plateaux, was in association with Thomas Goode, which is located in Mayfair. I went through an extensive vetting process, but something wasn’t working for me. Thomas Goode has been in existence since 1827 selling the most exquisite heritage tableware imaginable. How does contemporary glass art fit with this!? I envisioned his gallery separated on another floor or sequestered in a back corner.
We exchanged e-mails for about six months and I learned that Leo initially saw my wood art at SOFA Chicago. While looking for glass artists that were providing work with a certain classical feel, he ran across my website and remembered the quality and care I incorporated into my designs and finishes. We ultimately entered into contract and I shipped three pieces to the gallery – Cascade, Midnight Moves and Shape Shifter. Having a presence in London really appealed to me, but I still had reservations about how the work would blend with Thomas Goode.
Well, Gaye and I have just returned from a stop off in London on our way to Italy for our 2012 vacation. Blown away fairly well expresses my reaction. Thomas Goode is not a gallery or store, it is an old world grand salon and, instead of Plateaux being cloistered away, Leo had intermingled contemporary glass in the middle of heritage table settings and furnishings. And, by golly, it worked. No, it really works! Leo’s theory/philosophy is if you have a room or an entire house full of the same style or period, then everything melds and nothing stands out. But if you intersperse a few well selected, well-placed pieces that are different, then the viewer is forced to take in the entire scene. See each object on its own merit. The effect is wonderful.
I am more than pleased and honored to have my works included in such wonderful settings and experiment.