Here are some of the artist's pieces from the Neon lecture in the Glass Bead Expo held in May of 2008

John Stevens:

"I have always been interested in electricity and old neon signs and been a collector of such objects. Electricity, science, and art are an inherent part of all my creations. Fire, heat, colored lights are the spark and celebration of life!"

Burce Nauman:

Candice Gawne:

"1. “Fool’s Cup” , Plasma Lighted Glass Sculpture, 13” H x 11” W x 11” H. Uranium & Borosilicate glass, noble gasses, lighted base. 2. “Uranium Glass Bamboo” 3-D illuminated neon wall sculpture, uranium glass. 8’6” H x 4’ W x 9” D 3. “Under the Pier” Animated 3-D Neon Wall Sculpture, 5’ H x 9’ W x 9”D Neon with Black Light, acrylic, paint, wood and steel. "

Cork Marcheschi:

"Light is my primary material and perception is the focus of my use of light. Light is the basic material of all peoples visual experience. It is one of the only materials used in art that is abstract by it nature. Humans from all cultures have a pre-linguistic - pre-cognitive relationship to light which allows t to bypass the rational centers and hit deep into the human experience. My experiences over the past 62 years have brought me to the belief that the only things that we value that have real currency are intangible. You will experience this at the time that death of a loved one - pets or friends visit you. You surround yourself with all of the false symbols of security but they will not stop the grand piano that has dropped out of the cargo plane flying over your house."

Craig Kraft:

"My artworks are generated from rolled and painted aluminum tubing and neon. The dimensions of the tubing vary from 1 ¾ “ x 3 “ up to 6 “ x 3 “ for monumental scale sculpture. The neon tubing is shaped three dimensionally, highlighting the aluminum structure from all sides. These techniques have allowed me to bring the colored lines and reflected volumes of light into wide-open spaces. When the clean lines of neon interact with a new or existing architectural structure, volumes of light are created three dimensionally, resulting in a site inspired, integrated light sculpture"

David Svenson:

"David has been incorporating neon in his work since the mid 80’s. Often the glass/neon is the dominant material. Other works express just the subtle glow of colored light combined with carved wood or other sculptural materials.

Growing up on an orange grove in the rural citrus country of Southern California, yet just a mile away from classic examples of State Route 66 neon signage, left an early impression of multi colored light isolated by the darkness of the night. This childhood of juxtaposition, combined with witnessing breathtaking displays of the Aurora Borealis in Alaska while studying Tlingit art and culture in his mid teen’s set David on the path of light.

Learning, teaching, sharing skills and knowledge about glass, neon, art and Pacific rim culture’s are important aspects of David's life today. Aside from working in his studio, David teaches at the Academy of Art University in San Francisco, taught past classes at the Pilchuck Glass School, Washington State, Corning Museum of Glass, NY, Urban Glass, NY and has given workshops internationally. He is an active board member of MONA (Museum of Neon Art) and works periodically with a team of Alaska Native totem carvers on large commissions."

Eric Ehlenberger:

George Wray:

“Post & Lintel: BAM 1990.” Exterior, 140 ft., of neon, argon/mercury filled glass tubing. Installed in the entryway of the Boise Art Museum, Boise, ID. The irregular, seemingly random movement of the tube design was used to offset the severe geometric exterior of the building. The installation uses the glass entryway to take advantage of the reflections from the multiple angles of the plate glass.

“Suspended Vectors,” 63”H x 39”W x 20”D, neon, argon/mercury-filled glass tubes, rope, wood and rusted metal filings. 1994. Wooden armature is covered with rusted metal filings to give it a massive and rigid appearance, contrasting the flexible rope, fragile glass and color of the neon.

“Light Mounds,” 8”H x 12’W x 12’D, neon, argon/mercury-filled gas tubes, Idaho Garnet Sand and glass chards. 1990. The artwork is made of 8 10’ neon tubes of various colors laid out and covered with 4” of garnet sand. Electrodes are covered with two-inch high boxes to allow air circulation. 73 2” high sand mounds are carefully poured in a pattern aligning with the neon tubes beneath the sand. 73 6” glass chards are inserted into the mounds until the flat base of the chards rest on top of the neon tube, thus transmitting the light up through the glass chards and lighting the fractured edges of the glass. The concept came from spending weeks at Jim Turrell’s Roden Crater project in the Arizona desert. Turrell has been working since the mid 1970s using the crater as a platform to study phenomenon of natural light, one of which is atmospheric vaulted space. This installation is my visual interpretation of that phenomenon.

Jason Chakravarty:

"Based in Southern California, Jason Chakravarty creates mixed-media objects that explore questions of identity. Illumination is a key component of his work, most commonly in the form of neon, which for Chakravarty is the epitome of Americana. Materials such as glass, wood, metal, and found objects layer his work with narratives tracing the overlap between social, political, cultural, and personal identity. Straightforward imagery is collaged to create a recognizable vocabulary for investigating the search for individual identity among the perpetually proliferating brand-functions in the contemporary cultural landscape."

Ken Yuhazs:

"My work generally consists of two categories. The first is based on ideas that utilize found objects, embellished with neon and argon-filled glass tubing, in an effort to suggest humorous themes that interest me. The second group includes facsimile constructions of actual objects that use different materials than the original, and also use glass tubing to illuminate the finished piece.

As a teenager, I worked with an 80-year young gentleman repairing household appliances, such as toasters and irons, and I appreciated the style and craftsmanship of these common things, which dated to the 1930's. I add the colorful tubing to these everyday tools so that the viewer sees pieces of my life viewed through a slightly tweaked lens. The prosaic nature of the object is readily apparent, but the view now emphasizes a new, whimsical reading."

Lili Lakich:

"L.A. Angel" 9' h x 75'l x 3'd. West wall of 300 block of South Olive "L.A. Angel" is not only art, it is also Los Angeles. Its title, its imagery, and its materials speak of the city's past and present, as well as its culture, industry and character. The center of "L.A. Angel" has a stylized, abstract human shape, constructed of lightweight honeycomb aluminum sheets used in the aircraft industry and accented with streaks of neon lights. The head of the figure is an enlarged version of a Fresnel glass lens, which is used by the motion picture industry for lighting sets during filming. Multiple colored neon streamers flowing out from both sides of the body resonate because of the history of neon signage in Los Angeles. Neon lighting was invented in Europe, but the world's first commercial sign in the United States was installed in Los Angeles by Earl C. Anthony for his Packard distributorship in 1922. The juxtaposition of neon and automobiles, the role automobiles play in shaping the city, and the symbolic relationship between the automobile and Los Angeles is displayed by the angel's wing made from a 1957 Plymouth "Fury" rear quarter panel.

Michael Hayden:

Neal Connor:

Roger Spott:

Todd Sanders:

Tony Greer:

Willem Volkersz:

Thomas Wendler: