Diana Cole first worked in stained glass in the 1980’s while pursuing a career as a professional singer. Since moving to Rhode Island four years ago she has turned her attention to writing and creating stained glass full time.
She has exhibited work at the Attleboro Museum, the Deblois, Hope and Imago Galleries, the Warwick Museum and was an award winner in Bristol Museum’s Al Fresco Exhibit. In 2013 and 2014 she was a featured artist in the Bristol/Warren Art Night. Her work can be seen at Made in Warren, a new artists’ cooperative store in Warren, Rhode Island.
Recently, Delphi Glass, a major supplier of glass supplies, selected Diana’s piece “The Swan” to grace the back cover of their Spring Catalogue 2016 as a featured artist. In September, 2015, Diana’s stained glass was part of a two person show with Mark Wholey at the Van Vessem Gallery: The Whole is the Sum of His Parts.
Her designs and commissions hang in a number of client’s homes.
Diana is available for commissions.
With such a rich history of stained glass to draw on, how to say something singular and contemporary? I choose to work primarily with abstract rather than figurative designs. My experience as a singer draws me to the musical: the rhythmic pulse, the vibration of colors, their consonance and dissonance. I look for the composition to be tangible and timeless but never static. Above all I want to articulate my own sense of beauty.
Moving lines around on paper is most often the starting point. These will become solder lines. They are not only structural but expressive. The line can be lyrical or angular, consistent in width or fluctuate. They can contain or carry the eye away. Whether intersecting, connecting, conforming or disturbing the line keeps the eye moving.
At times I design a panel full size intuitively, letting the streaks in the glass inspire the movement of the lines. Some of the work shown here took shape in this way.
And what does the color say, the choice of glass? I hold pieces up the light.
They work or they don’t. The tone, energy, and associations in the glass prompt the next choice. Not to say I don’t have preferences. I like colors to be vibrant and I like to play with striations, textures and transparency.
In this way ‘meaning’ is both intuitive and intended. Each color has a personal symbolism, the conversation of colors, a personal narrative. And the light, how it changes the work from sunrise to sunset, completes the message.