Glassblower Nathan Paluzzi is highly attuned to the weight and "feel" of the glass, as well as its appearance. photo: mark demko
Imagine a gaffer who is legally blind working with molten glass at the bench. Before your mind goes to a cane and dark glasses, or, worse, third-degree burns, think again. Nathan Paluzzi, a glass artist in Bethlehem, Pennsylvania, may have been declared legally blind after he was born prematurely, but he can see well enough thanks to powerful corrective lenses. Though he may be considered “‘disabled” by some technical definitions, Paluzzi’s eyesight hasn’t kept him from graduating with a BFA from the Tyler School of Art at Temple University, or becoming an instructor at the Banana Factory in Bethlehem, Pennsylvania, where he teaches the unique set of glassblowing techniques he developed to investigate spiritual themes in his work.
In a telephone interview with the Hot Sheet, Paluzzi was asked about the challenges he’s faced. Among the hardest was figuring out how to deal with his limited depth perception, which he said often led him to lean in to try to make out details in the work. “When I would lean in so much, it would essentially ruin my posture, which in turn would make the outcome of my work unfavorable,” he said. “But now I know that confidence from the start is what works for me. I just have to stop thinking about it and feel my work throughout the process.” Experienced and trustworthy assistants help, too, he said.
Nathan Paluzzi, Buddah (In the Mountains), 2009. Found object, sculpted and sand-blasted glass. H 5, W 7, D 13 in.
Paluzzi’s 2009 work, Buddha (In the Mountains), offers some clues to his process, especially in the form of the abstract figures representing the mountains that are juxtaposed with a traditional Buddha figure. The artist spoke about the absolute immersion and focus he invests in his work with the goal of producing objects that are deeply felt, literally and figuratively.
Though his vision may be impaired, his condition has also left him more sensitive to light and color which is one reason he pursued art from an early age. Born and raised in Baltimore, Paluzzi says he has always seen every color and light more vibrantly. He was attending Baltimore School for the Arts, a high school, where he was preparing for a promising future as a painter when he first came in contact with glass when he took a weekend class.
Nathan Paluzzi, Dew Collecting Vessel, 2009. Ceramic slab plate, blown glass. H 6, W 5, D 5 in. photo: mark demko
“I loved it so much that I changed the colleges I was applying to,” he said. While at Tyler, Paluzzi was inspired by “world spirituality” and Buddhist, Hindu and Mayan cultures. “I’m inspired by the faith and beliefs of people,” he says. “The positive power that faith and belief can have over people is amazing.”
Paluzzi now spends most of his time teaching glass to children and adults at the Banana Factory, where he was recently the subject of a cover article in the institution’s ArtsQuest Newsletter. “One of the children that I work with told me, ‘I love it here because everything is so calm and peaceful. But at home it’s not.’ and that’s what I love about working with children … They provide me with another world.”
Nathan admitted that he hasn’t had too much time for his own work with his heavy teaching schedule, but he has started to do research for some new work with plans to transfer drawings and illustrations onto the surface of glass vessels.
Asked if he had any advice for beginners at glass, he paused for a moment, and then said: “Just have patience with yourself. Try to feel and react to the glass, and not just go through the motions.”
—Apeksha Vanjari