Today in Arnie's shop we dismantled the sculpture. It was constructed in pieces to enable us to work on metal sections separately from glass sections and to transport and install the structure with ease.The top arm, loosely in the likeness of a bird has been made larger to add presence. It is a wind driven kinetic piece. 
Eeva explores the art of frit painting. This technique will allow the inclusion of important animal figures into the glass panel elements of earth, air, water and fire. Eeva's work will be tack fused and then incorporated into larger glass panels. These animal figures are designed to sneak up on the viewer in a subtle way.
Linley, Eeva, and Ann toast to their collaboration and the progress made on Mari's Fire.
First we go over plans for softening the feel of the metal structure. Some of the hard metal edges will be trimmed- hand cut, to give a slightly meandering line to edges that will fit next to glass. Additionally, several corners and outside edges will be textured with splatter weld. This above all else gives the sense of an organic, natural surface. 
To come, we'll identify and explain each portion of the form and its significance to Mari, and Eeva's vision of the project as a whole.There's a definite theme and intentional design elements that make up "Mari's Fire
We have the sculptural form- "Mari's Fire" is showing strong. At this point the organic emphasis of the design is not apparent. It looks very functional and industrial now.
From top to bottom, each section and each side of the sculpture will have its own significance and meaning. As said previously the sculpture looks industrial, but that will change as we progress to the next stage of design.
