Welcome to my glass studio’s blog . . . .
July 13, 2012 Leave a comment
My name is Harold Williams Cooney. I’m a glass beadmaker.
My objective: design and assemble the finest single-source permanent collection of glass beads in the history of mankind.
My technique: divide glass beadmaking into fifty five individual studies and by keeping a small percentage of that work over a thirty year period, build a monument to the craft.
My doctoral dissertation to the title Master Glass Beadmaker, The American Trade Bead Permanent Collection, grows daily and currently holds more than three thousand objects.
This website is the blog of my workshop, Studio for the American Trade Bead. It’s a realistic look at what it takes to earn the title Master Glass Beadmaker.
For more introductory information, please click ‘read more of this post‘.
This website is about learning to make glass beads; it chronicles my passage through reality towards the title Master Glass Beadmaker. Here you will read very honest daily updates from the studio, you will see hundred of pictures from the permanent collection and you will be marketed to as this studio works to keeps its doors open and its objectives in tack by selling what it produces.
I mostly use only one material, borosilicate glass and my vocational desires are pretty much singularly centered on the object concept glass bead.
The problem with the term Master Craftsman is there’s no governing commission, no industry or academic board who’s responsible for the assessment of my skills and career; there is no one to give me the tittle Master Craftsman. It’s a self declared achievement.
Assembling proof of my mastery, the physical production a doctoral dissertation to the title Master Glass Beadmaker is the function of my business and the content of this archival/promotional website.
The Studio for the American Trade Bead Permanent Collection is an attempt at inverting the position of glass bead in the hierarchy of the glass arts from least to greatest. It’s a soap box on which I can make statements about the future of my nation, about value of self definition and about the role of entrepreneurship and manufacturing in the next century. It’s an answer to the historical and ethical call of the slave and trade bead, it’s an illustration of the connection between hands and heart and it’s a prose to positive nature of the craftsman/universalism philosophy.
I believe if I keep a little bit of myself every working day, that at the end of my simple life I will have a great sculpture of who I was and of the life I lived professionally: The American Trade Bead Permanent Collection, a thirty year ode to plight of craftsmanship, an encyclopedic like study of glass beadmaking, perhaps growing to as many as ten thousand objects all with a unified a voice, a sculpture with hopes of becoming known as the finest single-source permanent collection of glass beads in the history of mankind.