The Imminence of Losing time
HONORS CAPSTONE | HN399
Mentor: Deena Amont
Overseen By: Dr. Kerry Wynn
Spring 2026
Sam Snyder
Washburn University
An Ode to West Coast Minimalism
OBJECTIVE
Create a substantial Clock Composed
of individual fused glass rounds
USING SPLIT COMPLEMENTARY SCHEME | GEOMETRIC | FUNCTIONING
INSPIRATION
This piece is heavily inspired by the works and artists of the West Coast Minimalism movement that gained popularity in the mid-20th century, featuring artists like Larry Bell and Robert Irwin. One of the subcategories of WCM consisted of Light + Space, focusing on nontraditional media, installation work, and how an individual's sensory perception influences their experience of the art.
Prior to this endeavor, I had little familiarity with WCM. I became quite fascinated with the movement through my interest in Chris Burden, whom I have done substantial research on. Chris Burden's mentor was Robert Irwin, and Larry Bell actually participated in at least one of Burden's 1970s performance pieces. Through this connection, I felt compelled to learn more about it, finding the movement quite fascinating and specifically interesting when contextualizing Burden's early and later career as an artist with these influences.
BEYOND TRADITIONAL MEDIA
I have been experimenting and working with glass for several years. I am proficient in techniques widely known for stained glass, such as copper-foiling and lead-caming. In addition to stained glass, I started fusing glass soon after my artistic endeavors drew me to glass. Currently, I work exclusively in glass. I aim to create a larger artistic repertoire by looking into woodworking and metal techniques as I move to create more sculptural pieces. In the past few years, I have done glass blowing and flame-working. I look to expand my familiarity with work in 'hotshops' and cold working my fused works at facilities such as the Belger Arts Glass Annex in Kansas City, MO. Using different media and techniques on glass, like painting, and encapsulating images in copper-foil and leaded pieces, allows me to go further in my aspirations.
BACKGROUND
The Washburn University Honors program encourages students to accomplish independent research. To graduate with honors, students need to complete an honors thesis or capstone; some of these projects may consist of work in the student's domain or major of study. However, with the flexibility of the honors programs, students are supported to explore beyond their traditional studies to complete this requirement. Hence, as a senior, I chose to incorporate my passion for studio classwork into an honors capstone.
With the help and mentorship of instruct Deena Amont in the Art Department at Washburn University, I had the opportunity to collaborate on a substantial project that has benefited my ambitions as a glass artist. Although I will graduate with a B.A. in Art History and a minor in Philosophy this spring and continue my graduate work in the M.A. Museum Studies program at the University of Kansas, I hope to establish myself as a regional glass artist, building a substantial body of work which showcases my stylized glass artistry and enter into exhibitions.
My background in art history, particularly abstracted movements and 20th-century movements, inspires my glasswork from Art Deco to West Coast Minimalism. This piece features the integration of elements that I associate with West Coast Minimalism, and furthermore, the Light + Space Movement popularized in the mid-20th century on the West Coast by artists such as Larry Bell and Robert Irwin. I find that, like my fascination with the properties of glass, this movement emphasizes how viewers experience installation, at times kinetic, and works that are abstracted rather than representational.
As an artist, I gravitate towards artists like Gustav Klimt, Dale Chihuly, and Frank Lloyd Wright, who have utilized vibrant hues in their works. In the past years, exploring Chihuly's work around the United States brought whimsy to my works. Personally, I find my interests revolve around color theory and experimenting with the properties that certain sheet glasses have to offer beyond traditional media.
Linda Rossiter's 'Hard Edge' glass style opened the world of fascination for me several years ago. Since then, I have tried my hand at this technique, and found that it complements and exaggerates the abstractedness and design of my pieces, often centered around forms, complements, and the contrast between opaque and translucent glass.
In several of my prior pieces, I focused on triads, and likewise, this piece does similarly. The color scheme is nearly split complementary, including hues of blue, green, and orange; however, due to the inability to produce and obtain certain hues, this causes more difficulty than using traditional media)
Glass & Artistry
Glasses' qualities encourage the creative use of sculptural experimentation due to their properties.
Glass art, though less representative when studied in art history, has been subjected to utilized and at times, subjugated as a craft or a trade rather than fine art. However, artists throughout time, particularly with the blossoming of cathedrals after the 10th century, used lead-caming and glass painting to create ornate pictorial designs often reminiscent of biblical scenes.
Glass art remains to be fully explored, to an extent, particularly the various methods that glass formation can occur, whether this would be through cold, warm, or hot working of molten glass. For this reason, in addition to others, glass art encompasses a vast variety of forms, both two and three-dimensional. With the ability of warm and hot working classes, artists are able to manipulate the glass well over 1200 degrees Fahrenheit when warm-working and over 2000 degrees when working in the hot shop.
Contemporary artists internationally hold workshops to feature their skills and works at museums central to glass, such as those like the Corning Glass Museum in the United States and on the West Coast nearby the Tacoma and Seattle area in Washington State.
Stained Glass | Fused Glass | Flame Worked (Torch Worked Glass) | Blown Glass
QUALITIES OF GLASS
& PERTINENT DEFINITIONS
- COE | Coefficient of Expansion
This is the rate at which the glass expands and contracts when heated and cooled while fusing. Artists use ramps and holds to be able to reach targeted ranges, so that glass does not experience thermal shock (which can cause the glass to fracture) or have an increased likeliness of devitrification (when the glass in not throughouly clean this is similar to a hazy sheen). Glass is fired to temperatures instead of cones like those utilized in ceramics. Glass artists need to be aware of the COE as mixing COEs is likely detrimental to a piece as this causes increased tension and unnessecary stress when fusing.
The most common COEs for glass fusing are 96 and 90, which need different temperatures and ranges to accommodate procedures like a full fuse, tack fuse, or slumping in molds. However, glass is offered in other COEs for torch working, as it is typically softer and offered in rods at 104 COE.
- OPAQUE V. TRANSLUCENT
REFLECTIONS | LIGHT'S IMPACT ON THE PIECE
Opaque glass is glass that appears to be less see-through when seen in a darker environment or in not direct sunlight. For this project, I exclusively used opaque glass so that the darker backing would not obstruct the designs. When lit, the opaque glass can appear lighter, and in particular circumstances, if you held your hand behind a white piece of opaque glass, you would be able to see the darken outline of your hand. However, in darker glass sheets, this is often not the case.
Transparent glass, on the other hand, is see-through and allows the light to be fully absorbed and reflected without compromising the imagery, typically only as if a filter appeared with the hue. One dilemma with transparent glass and sculptural pieces is that the forms can be obscured by additional elements that are necessary for the piece.
Both opaque and translucent glasses can come in specialty versions with other subvarieties of wispies.
- TEXTURED & SPECIALITY GLASS
STRIKER GLASS | ARTIQUE | FUSERS RESERVE | ROLLED
These are some common types of specialty glass. For this project, I used the Fuser's Reserve line from Oceanside Glass.
- OCEANSIDE GLASS 96 COE
GLASS MANUFACTURER UTILIZED
'The Imminence of losing time,' glass on wood backing, 36 in. diameter, 2026.
sami
Why a clock
time is pervasive, at times elusive, yet imminent
Counting the seconds, minutes, and hours
What sentiments does this action provoke ...
Dread | Frustration | Relief | Contentment | Sadness
Time that has passed is not 'what could have it been' but what, in actuality, is
These sentiments are all too familiar.
Time is conceptual, unreachable to us as individuals; as an abstract understanding, we experience its impact.
The subtlety of phases such as:
"I do not have time" | "I will make time" permeate throughout society, and I, too, create boundaries from my perception of this notion. However, this piece challenged me. It helped me to displace some of my discomfort surrounding the existential underpinnings of time by ironically creating time (in a physical form, a clock) itself.
Present in time, I focused judiciously on bringing this conception to life. Now, I can, as a viewer myself, participate in this test, to watch as time passes beyond me through my own creation.
NOT SO SIMPLE
Recurring themes throughout history & daily life
The symbolic icon of time seeps through all facets of life:
Represented by clocks, watches, & hourglasses, and presented with darker themes such as icons associated with memento mori and arriving near adjacent considerations of vanitas pieces, surrounded by considerations of my mortality.
An obsession with this concept has persisted since early times.
Clocks can be seen as an instrument, measuring progress, yet measuring disintegration.
From children drawing clocks and recognizing numbers to aging individuals with dementia or progressing disease struggling with the task.
Several Works Considering Time in Differing Contexts Include:
Salvador Dalí. The Persistence of Memory, 1931 | Felix Gonzalez-Torres. "Untitled" (Perfect Lovers). 1991 | Chris Burden's 1970s Performance Works
CONFLICTS & DIFFICULTIES
This piece has a multiplicity of meanings and interpretations, the challenge is to be present, in the face of time, watching the hands pass, combating this dread or anticipation of moving onto the next thing. Although clocks are not static themselves, it can be quite difficult for viewers to stay in this momentary position, actively engaging, even if not stimulating. In a pragmatic sense, this piece is a test - "Thanks Chris Burden for these sentiments disbursed throughout his commercials."
It puts the viewer in charge of actively viewing, understanding whether this clock is fulfilling its function, as this piece does have a utility proponent to it. But, if one were to change the time, or even have the clock face moving counterclockwise, would anyone even notice?
Initially, I toyed with the idea of a counterclockwise movement, but ultimately let the piece remain as a viewer may expect. Nevertheless, I would like to create a piece to accompany this, not necessarily as a pair, but perhaps a response to my own work, incorporating further sense distortion through spinning or movement that may be disorienting or displeasing to what some may associate with the aesthetics of the piece as a whole.
WASHBURN UNIVERSITY | PROFESSIONAL ARTISTIC ENDEAVORS
Finding myself again, through art
I started my career at Washburn University nearly four years ago. Throughout these four years, I have changed directions, pivoted, and reevaluated nearly every aspect of my future. However, one thing remained consistent: art remains central to my direction and my tenacity moving forward as a museum professional.
At Washburn University, and particularly with the encouragement of the Art and Honors Department, I fostered my interest in working with glass. With the help of the Washburn Transformational Experiences at Washburn, I have been able to go beyond my fascination with studying art and artists and flourish as an artist myself while completing WTEs and independent honors studio extensions.
This piece is my finale to my undergraduate career and my time as a student at Washburn. The culminating factor to create a work for this reason ultimately led me to opt for a capstone project focused on my future as an artist, despite following another career path.
This piece, from conception to completion, took well over 150 hours, but in earnest became an outlet through the end of my senior year, providing a creative outlet and challenge well beyond my previous endeavors. By far, this is my largest fused glass work, and start to a new era of endless possibilities featuring sculptural and kinetic elements, which I hope to explore in the near future.
The Process
DRAFTING
Phase One
Bringing this project to fruition took substantial efforts in the drafting process, where I ultimately created a scaled model with the designs accordingly sized.
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From the start, drafting and creating these designs, understanding which rounds should serve as the larger ones in comparison to those of the numbers, ended up taking weeks, with exploring the coloration and placement of each one of the more than one hundred pieces.
Pattern Creation | Transfers | Scaling | Glass Color Selection | Color Placement | Understanding Goal
Scoring & Grinding
This phase took place after I had transferred the cut vinyl patterns onto the glass, similar to how one may go about sewing. After the transfer, I used several glass cutters, such as a pistol grip and pencil cutting, to run the scores on the glass. To get a nice score, making sure the glass is up to a standard temperature helps prevent the run from veering off the initial score.
I use the vinyl pieces as a guideline as I score as close as possible and break with a running plyer or grozing plier dependent on the thickness and needs.
If a break is particularly not close or very concave, this leaves the glass likely to break. Hence, in cases like these, I touched up the edges with a grinder.
I set each completed piece of the pattern as I went, ensuring that they fit together perfectly to create straight lines and angles of a circle.
On pieces such as Fuser's Reserve, it is important to put on the pattern backward, so that you can encapsulate the pattern itself, not the background. The same goes for textured glass, as you should always score on the smooth side.
Kiln Firing
It took many kiln firings in my studio kiln to complete this project, over one dozen. However, prior to the initial firing, I did test tiles with all colors. I thoroughly assessed the kiln after each subsequent firing, checking the heating elements, pins, vacuuming, and cleaning any residue, in addition to applying kiln shelf wash and firing paper.
Each piece in a 'hard edge' piece had to be individually assembled in the kiln after each piece was thoroughly cleaned to remain devit-free. After the initial design layer power clear frit was sprinkled over, reducing the chance of bubbles. Finally, a 3mm clear circle was placed on top and red to fire. For a full fuse and a rounded edge, 6mm of glass is recommended, and the top temp of my schedule is 1465 degrees Fahrenheit, as this works best for my kiln and the abundance of tested firing schedules. Typically, my schedules range from 6-8 segments, with the time necessary ranging from 16 hours to 24 hours.
'Devit,' short for devitrification can hinder the appearance of fused glass. When a piece shows 'devit' it may appear hazy rather than glossy/polished when finished. Devitrification can occur due to contaminants perpetuated by the higher temperatures the glass is exposed to when hitting the ideal temps in ramp segments.
Test Fires | Cleaning | In-Kiln Assembly | Hole Drilling | Tack & Fire Polishes
CREATION
PHASE TWO
ASSEMBLY
Phase Three
Preparing to Mount
This, by far, was the most challenging part, due in part to the fact that this had been my largest and most sculptural undertaking. I had to consider the substantial amount of weight and size needed for a backing, and how this could be mounted or have a stand in the future created for. In the end, I tested out half a dozen adhesives and experimented with the results over 48 hours to consider the final product. Once I had selected the adhesive, I considered sanding to ensure that the finish on the hardwood would not be a detriment to adhesion. Lastly, since I wanted the elements raised, I needed a sort of protrusion. Like with adhesion, I tested several options for hardware and crafting stores, ultimately testing again. I color-matched the risers with resistant paint and finally started adhering everything.
Backing Decisions | Adhesive Testing | Mounting Testing | Exploring Parameters
Finishing Touches
This project ended up larger than I initially anticipated, and I am quite pleased with the result, despite overcoming many challenging elements and at times pivoting my strategy fully. That said, after I left the clock to dry for two days, I put in the clock arms, and it was all set, as I imagined.
I look forward to making more pieces like this in the future, as this took nearly 200 hours to complete, considering the difficulties in place. The finale consisted of photos, videos, and the pride in accomplishing such an ambitious project.
... BUT I would do it all again!
Putting it all together ... At Last!
The learning Curve & Troubleshooting
I gained resilience while undertaking this endeavor, often pivoting, using models, testing methods, & attempting to evade any unwanted outcomes.
Nevertheless, here are some of the difficulties I faced with this being my largest and most sculpturally based fused glass work.
- Weight | How this affected the necessary backing and stabilizing through testing many adhesives with different substrates
- Mounting | What substrate would best fit my needs for a project this size... I opted for hardwood
- Protruding Offsets| How far off each piece should be from the backing to accommodate for overlapping needs | How could I accomplish this
- Adhesive for Offsets| Like for many of my projects, I needed to test adhesion to several substrates alongside strengths and longevity
To mitigate any unnecessary issues I created mockups and scaled models in color with the designs for the placement of each individual glass round | This allowed me to experiment with the layout and cohesion well before the final product
Moving Forward
Where to go From here
What is left...
to continue moving forward, to continue engaging, and never ceasing to create
This fall I begin a new journey. Another milestone awaits.
I am pursuing my career in collections management, ultimately aiming to work with an art museum with an extensive collection. Over the next several years, I will be eagerly making progress towards my M.A. in Museum Studies and working in collections at the Spencer Museum of Art. Yet, I will continue to grow as an artist, aiming to comprehend and better represent a cohesive style within my body of works that can be showcased at exhibitions in galleries and museums.
Is for me to continue moving forward, to continue engaging, and I look forward to experimenting with more techniques in both fused and stained glass, and building my confidence with flame-working and glass blowing in the near future. One goal of mine is to work towards creating larger sculptural pieces and incorporating both woodworking and metalworking techniques.
What is next
Projects on the chopping block...
What to do with an infinite amount of inspiration with finite resources
In the following several months, I am working towards creating larger and more sculptural works, which have been noted and semi-fleshed out.
These projects are no small undertaking, as I anticipate the next few pieces, which I intend to start this summer to take several months.
I will be incorporating many techniques, both copper-foiling and lead-caming, to create stained glass pieces (both 2D and 3D) alongside attempting ambitious sculptures out of fused glass.