Martin Kremer's been busy this year - First Prize
in the 2002 American Craft Council fair in
Baltimore, a NICHE Award, six art shows in four
months, teaching commitments on two coasts, and
for relaxation? - leading a workshop in an artists'
village near Haifa, Israel during a family vacation.

So when does Marty sleep? Apparently not at
night. As an EMT with the Pound Ridge, NY volun-
teer ambulance corps, one of his "day jobs" some-
times happens at 2 AM.

But working at 2 AM - whether on glass or the
ambulance - is just one part of the un-conventions
of Marty Kremer's life. "I'm Mom. My wife, Barbara,
and I have switched roles - we've got a ten year
old son, Gabriel, and since I don't like wearing
suits and ties, and Barbara commutes to work, I
take care of the house, do all the cooking, get
Gabe off to school, etc. Fortunately I've got a won-
derful assistant in the studio - Helena Van Nuys- to
keep me honest and on track."

In the midst of this busy and unconventional life
we managed to corner Marty - via email at 2 AM -
to answer a few questions about the evolution of
his life and glass career. Like many in the kiln-glass
community, he started out in stained glass.

Bullseye: When did you start doing kiln work?

Marty Kremer: About 10 years ago. I'd been mak-
ing glass jewelry boxes with seashell slices and
mineral specimens inset in the lids and had gotten
bored with it. I bought Glass Fusing Book One and
borrowed a small kiln from a friend and started
tack fusing panels for the boxes. Boxes led to ves-
sels, the borrowed kiln led to my own kiln, and I
took a weekend class with Ronnie Wolf.

BE: Do you work in other glass-forming methods?

MK: About the same time I started fusing I also
started helping out in a nearby hot shop on occa-
sion; that led to a couple of glassblowing sessions
at Penland.

BE: Who or what inspires you?

MK: I seem to go to fabric patterns when I get
stuck: quilts, ethnic patterns, just the complexity
of warp and weft is enough to get me going. Klaus
Moje and Lino Tagliapietra are inspiration enough
for anyone. 20th century Italian and Swedish blown
glass. Also traditional Japanese design.

BE: Your accomplishments in just the last year
have been dramatic. Your current "Ventana" series
is taking a wonderful new direction. With so much
under development, where do you see yourself in 5
years?

MK: Trying to stay ahead of all the students I'll be
teaching this year. Seriously, this last year has
been so exciting that I can only think in terms of
the next year or two. More teaching, more time on
individual pieces (less production work), a new stu-
dio and someone to take over ALL the paperwork. I
will probably get into casting and will also try to
apply my glassblowing skills to my fused work.

BE: What's your next tool/equipment purchase
going to be?

MK: A glory hole.

BE: What's the most useful knowledge you've
gained so far about glass?

MK: Respect for the material, wonder at the possi-
bilities.

BE: How did you learn it?

MK: Glassblowing.

BE: So, when you're not working on glass, what do
you do?

MK: When is that? Besides working with the local
volunteer ambulance corps, I canoe when I can, I
love to cook, and I play racquetball. And family
stuff.

BE: And to indulge yourself?

MK: Bernese Mountain Dogs. Buying cases of
Bullseye. A new Moto Guzzi motorcycle. Taking
time off.



To learn more about Martin Kremer's work and his
busy schedule, visit his website at:
http://www.kremerglass.com