http://www.GlassArtMagazine.com Glass Art TM • May/June 2016 • 25for another version for St. Joseph’s new Cancer Center. “The pop-
pies are some of the most challenging forms that I make. I had to
figure out a way to make drain holes in the pieces, since they’re for
the great outdoors and we get our fair share of rain in the Pacific
Northwest. Because the flower gets flipped inside out during the last
reheat during blowing, I estimate I lose one in four that I attempt,
but they’re such popular forms and look so nice in a grouping that
I continue to make them.”
In a weird twist of fate, Schmid’s assistant Sterling Powell, who
helped him make some of these flowers, was diagnosed with throat
cancer as Schmid was installing the work. Powell ended up being
one of the first patients at the Cancer Center and got a firsthand
view of the gardens and glass pieces while going through chemo.
Powell is now cancer free because of his successful treatment there
and was back to blowing glass again as Schmid’s teaching assistant
(TA) at Pilchuck this past summer.
Schmid shared: “In regard to his recent work in hospitals, Ther-
man Statom said at last year’s Glass Art Society (GAS) conference
that ‘As glassblowers we’re either sorcerers or healers.’ I’d like to
think that we’re both.” These public artworks in hospitals are not
simply pretty to look at. They possess healing qualities, and I’ve
received many compliments from patients and staff.”
Teaching on Paper and in Person
Schmid’s commitment to teaching and sharing glass knowledge
began with William Carlson, former Professor of Art and head of the
Crafts and Sculpture program at the University of Illinois, Urbana-
Champaign from 1976 to 2003. “Carlson said, ‘If you find something
valuable within the glass world please pass it on, because it’s a small
community and it’s best to work collectively.’ That stuck with me.”
Nearly half of the year, Schmid spends his time teaching classes
and workshops in glassmaking at his own studio and in colleges,
universities, and private studios worldwide. The other half of the
year he devotes to developing new work, writing projects, and rais-
ing two young children in the scenic Pacific Northwest.
Ed Schmid, Silence is Golden, the American Sign
Language Alphabet in glass, public art piece,
36" x 29" x 5", 2011.Ed Schmid, Firewalker Helix, blown, cut,
and polished sandblasted glass sculpture,
18" x 6" x 5‑1/2", 2011.