Washington Glass School at 25 — Artist Stories
For nearly two decades, Jennie Lindstrom has been part of the extended Washington Glass School family—as an artist, teacher, collaborator, and, in her own words, sometimes its “prodigal daughter.”
Her creative life has taken plenty of turns along the way. She has worked in glass and wood, taught community workshops and Hot Shop Heroes, studied at Penland School of Craft, sold jewelry at Eastern Market, kept bees, coached, played roller derby, run marathons, and trekked Kilimanjaro.
But Washington Glass School has remained a place she can come back to.
Do you remember your first encounter with Washington Glass School?
My first experience with Washington Glass School was at the Half Street location. I don’t remember how I heard about you all, but from that very first class I was hooked on glass!
What was it about glass that hooked you?
Working with glass is magical. There are so many different techniques to use that make glasswork an art and a science. I love the way light affects a piece and how glass can seem delicate and light as air or as heavy as lead depending on the techniques and colors used.
You’ve worked in glass, wood, and other materials. What draws you to combining them?
I love the juxtaposition of organic and inorganic qualities. I’ve primarily combined wood with glass or wood with metal. The warmth of wood can have a grounding effect on the glass elements.
It also represents our interactions with nature and how we incorporate the built environment into the natural environment, at which we’re not always successful. My hope is that the way I combine wood with glass and metal represents a relationship that enhances both materials rather than one taking from the other.
You’ve been part of WGS for nearly 20 years. What has kept you connected?
The WGS community is incredibly welcoming and meets me where I’m at. I feel welcomed in the studio no matter how many months or years I’ve been away.
I joke about being the prodigal daughter because at times I have spent years away, only to come back to open and encouraging arms. Washington Glass School is one of the most welcoming and accepting communities I’ve ever been part of.
I enjoy going back to catch up, see what folks are working on, and, when I feel inspired, getting support to make my inspiration a reality.
What memories stand out from those years?
So many things. I loved joining a Washington Glass School trip to the Penland School of Craft for a “quick and dirty” glassblowing weekend. That was my first experience of Penland, and I fell in love immediately.
Then I got the opportunity to go back to assist Tim and Mike in a week-long Dry Plaster Casting class. That was an incredible experience with too many memories to share here.
One of my favorite memories was after I participated in a two-month woodworking concentration at Penland. I delayed looking for a job and focused on making glass jewelry to sell at Eastern Market. I was at WGS every day, and one day a decision was made to buy a grill. I spent the summer grilling about once a week.
It was such a fun time!
What do you hope people take away from making something with their own hands?
I hope people take away the knowledge that we are all creative and that when we work with our hands, we connect to our deepest selves.
I also hope taking a class will spark their curiosity to continue exploring other ways of connecting to their innate creativity and the tactile world.
What have you learned from the artists around you at WGS?
Every technique I’ve used in my work, I learned from artists at WGS. When I first started working with glass, I mainly created decorative pieces. As I spent more time at WGS, I started leaning into more narrative work.
Where does your work begin?
My work begins either with an image in my mind, a feeling I’m experiencing, or sometimes a particularly interesting piece of wood.
Artist, teacher, coach, beekeeper, roller derby—are these separate worlds?
The connection I see between all these activities is that they connect me to all of my senses and help me make connections or solve problems more creatively.
At times they influence each other, such as my interest in using beekeeping to provide a more powerful coaching experience, or a curiosity I have about using honeycomb in artwork.
Teaching has been a throughline in all these activities. One of my favorite things is sharing information about subjects I’m passionate about.
After nearly two decades, what does being part of WGS mean to you today?
Though I spent more time with WGS in the first ten years than in the last, knowing this community is there means I always have a creative home, where I always feel welcome.
What’s next?
I’m excited to find ways to incorporate honeycomb or beeswax into my artwork. I’m not sure what I might create, but I’m looking forward to experimenting.
What would you tell your younger creative self?
Always find ways to be creative and follow your creative urges. It doesn’t have to be grand, just consistent.
If you prioritize creativity in your life, you will feel more fulfilled and always be around interesting people.
And finally…
Something people at WGS might not know?
I trekked Kilimanjaro for my 50th birthday! I also hiked the Inca Trail to Machu Picchu, and I’ve run seven marathons.
Favorite WGS studio sound?
The ripping sound of the glass cutter as it etches a line in a piece of plate glass. So satisfying!
Glass studio or roller derby track—which has more drama?
They have different kinds of drama.
