Approximately 111mm long
personal size flavor saver bowl with a shallow draft tapered to a slight rim at the crest to secure the load.
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Nomads are communities without fixed habitation whom often take to wander., seeking adventure.
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Join the community of dosh nomads. My quest to revisit this classic and timeless form. With over 25 years experience shaping the medium to forge a perfect field piece. Applying extra attention to wall weight, flat spot/resting position, carb, mouthpiece and bowl dimensions. Perfecting all components of function wile giving equal weight to aesthetics. The simplicity of this form makes a perfect canvas for my signature pattern.
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I first learned the cut n' flip back in 2000. This series of dynamic techniques align me to the medium like a perfect dance partner both challenging and exquisite. I begin with a blank of 38mm standard, which is a large diameter of thin tubing about 100mm long. This can be tricky to achieve a working temperature without overheating and losing stiffness in the glass. A very fine line between too cold/cracking and hot/melting. When the blank is at that sweet spot of 1050° F (565° C) I begin a spin trail by heating an end of a color rod, tagging and then rotating the blank wile continually feeding color into the flame. This creates an extremely thin coil wrapped around the glass blank. The entire process requires flawless ambidextrous execution in a perfect flame atmosphere. Once a spin trail has been coiled around the glass blank I have to work extra diligently to apply a perfect mixture of 24 karat gold and .999 silver fume. Achieved by placing a small nugget of raw metal into the flame, which then vaporize into a cloud of gas particles coating the coiled blank. When the correct mixture of metals align it creates a brilliant rainbow spectrum of color. This is a masters technique all in its own and difficult to perfect in this application. If I hesitate too long the blank will cool down and the color coil will pop off losing the pattern. After gold & silver has been applied to the surface I then begin the raking process. One of the oldest technique in Glass dating back to the Egyptians. By rapidly heating the surface of glass I then drag a clear rod down the coil producing a series of chevrons and trapping the fume. Each rake is absolutely unique like a thumb print and takes a great deal of skill and heat control to maintain a consistent pattern. I then cut and flip (hence the name) this completely inside out. Resealing seamlessly to create an inside out pattern with old school color changing effect once in use.
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The cut n'flip has been the center of my artwork perfecting the technique for over 25 years. A signature pattern instantly recognizable and ubiquitous among the functional glass culture.