Christie Andresen

Artist Statement

I have enjoyed the art of working with a variety of media since I was very young. These skills have allowed me to approach a unique style of glass crafting that weaves together these mediums, and I have enjoyed the process of experimentation, ultimately finding a balance of each media in the different sets of panels I make.

By using skills learned from years of jewelry making, leather working, metal crafting, technical design and traditional stained glass application, I have been able to hone my skills, creating stained glass panels with hand sculpted brass and copper wire, enameled repose copper, fused elements, hand painted and kiln fired glass, and relief motifs.

The open work, or lacunae, in my panels, along with intricately filled areas, allows me to create designs in the negative space, creating a balance of sculptural negative/static positive.

Movement is created within and on the glass. Kiln worked and fused glass, along with painted and fired enamels allow me to experiment with more intricate and abstract concepts, while harnessing the beauty of transient light.
The sculptural aspect of layered glass creates surface texture and along with ambient light plays an important part in the finished pieces, as does the journey of reflected sunlight during the day keeping the panel in a constant state of flux.

Christie’s Biography

My family, descendants of the Mayflower voyagers, settled in Provincetown 200 years ago.

Strong and independent, education and community involvement was highly regarded and encouraged.

My mother, acquiring her degree in nursing at age 20, worked in the local Canteen, Red Cross and Manor Nursing Home. Moving to Key West Florida in 1958, I was born on March 25th, during her evening shift at the De Poo Hospital. Strong enough to make the bus ride home in early 1960, my mother returned to Provincetown, and I grew up in my family residence with my grandmother and great grandmother, then 101 years old.

Our rich social tradition of being self sufficient, comprised of farming, sewing and producing our own clothing, braiding and hooking of rugs, cooking and canning along with volunteerism and active war service, was an integral part of a small town with a strong sense of Yankee pragmatism. Woven within this practical approach to life: a vital Portuguese fishing fleet, and a vibrant artistic community.

As a local child in a town inundated with summer visitors from around the country and the world, I had the opportunity to spend my summers in the tutorage of artists, artisans, performers, writers, scientists, fisherman, politicians, and a myriad of ecclesiastical dons. As a very young child I spent most of my time in the wilds of my 4 acre back yard with muskrats, ducks, blackbirds, worms, snakes, wild cats, dogs, bugs of every conceivable species and, ultimately, neighborhood children playing manhunt until the sun went down.

A family decision to educate me in a larger school system prompted a move to Lexington, MA.

I lived with my Aunt and Uncle and was introduced to a world of language and visual arts, music and acting. Between the ages of 12 and 15 years old I had performed in just about every Gilbert and Sullivan operetta, produced an award winning stop-action animation film at Yellow Ball Workshop in Boston with the Falcones’, watched Shakespeare in the Round in Boston and then performed the same in school, all the while continuing art classes with local artists in Provincetown.

I am grateful for growing up in a community that always welcomed inquisitiveness, encouraged participation and selflessly shared information, skills and knowledge, and where the young were considered protégées, regardless of age.

With no formal art education, the variety of artistic skills I acquired allowed me to approach the family of handcrafters at Whalers Wharf in Provincetown, a 1960’s style artists community conceived and fostered by sculptor and artist Dale Elmer, encompassing various handcrafters each with their own workshop and individual artistic expression.

This unique crafting environment involved open-air studios, visual and personal access to the artist, and a welcoming atmosphere for the Provincetown visitor. Here I refined my personal philosophy and technical skills that I use in aspects of my stained glass work and studio today.

My formal stained glass education came from accomplished artisan Christopher Pearson, my mentor and friend. I worked with Chris for 7 years, crafting Arts and Crafts style glass panels using traditional stained glass techniques. Having become proficient as a glasscrafter and wanting to create my own style of glass, I opened my own studio in Provincetown. For 17 years the Commercial Street shop included a full working custom and retail glass studio.

Continuing the traditions of Taqwa Glassworks, I conceived and co-founded The Guild of Fine Glass Artists in North Truro.

Recently looking to re-create my roots in the open working studio environment, I have opened up my new studio at the Billingsgate Art and Antiques center in Wellfleet.