This work is cast into a welded form. Through experimentation, I’ve determined using three layers of glass mitigates the fragility of a thin-walled bubble. A forged detail in the loop connects the piece to the ceiling, adding a subtle touch of craftsmanship. I collected desert parsley, native to the sagebrush steppe and fused it between glass: placing the organic material directly on the white glass. During the kiln process, the incineration of the plant produces gases and fuming—a fascinating phenomenon that creates a spider-like halo staining the white glass, along with “blowing” a distorted bubble. I’m very interested in this phenomenon and the randomness it brings. While preparation and control involved in making work are extensive, surrendering part of the process to nature and physics is something I’m fascinated by. Once the kiln reveals its results, the cycle continues—it’s my turn again to respond, interpret, and allow the outcomes to inspire new creativity.