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Inside the Studio: Cherise Kratsa-Hoak
- Art Dealer Street
- Apr 22
- 5 min read
In this edition of Inside the Studio, we step into the world of Cherise Kratsa-Hoak, a self-taught fused glass artist whose emotive works explore transformation, memory, and the human spirit. From a move across the country to a journey through solitude, her story is one of courage, curiosity, and the radiant possibilities of glass. Cherise invites us into her practice and shares how she has turned glass into a powerful medium for storytelling and healing.
Read on to learn more in an exclusive interview with Cherise Kratsa-Hoak :
1. Your work with glass is truly unique. What first drew you to working with this medium, and how do you feel it reflects your artistic vision?
I stumbled into glass artistry out of a need for connection. In 1999, my husband’s job took us from California, where I was born and raised, to Rhode Island—a place where I had no family, no friends, and had never even seen snow. Looking for a way to adapt, I joined a stained-glass class, eager to meet people and learn something new.
While the colors captivated me, I quickly realized that stained glass wasn’t my path—the smell of flux and solder lingered on my hair and clothes, and I couldn’t tolerate it. Thankfully, I discovered fused glass, a technique I knew little about but was determined to explore. With no one else around me working in the medium, I taught myself through experimentation, refining my skills over the last 24 years.
My artistic vision is to challenge boundaries—taking fused glass beyond conventional limits. I aim to create pieces no one else has done before, translating human expression into glass. One of my proudest works, Yesterday, Today, and Tomorrow, captures the essence of life’s different stages. I started with the hardest piece—the elderly face, lined with deep character and emotion. The final result astonished even me.
2. How do you balance the intricacies of glass design with the emotional expression you aim to evoke in your pieces?
Glass is a meticulous medium—it demands technical precision, patience, and a deep understanding of how materials respond to heat. At the same time, I want my work to feel alive, to reflect real emotions.
“My art is a refuge from the harshness of the world. When a piece fires perfectly, it brings me joy, and I hope it does the same for others.”
Achieving emotional depth in glass requires me to connect with the material on both a technical and intuitive level. Before I begin a piece, I need to be moved by an idea—a fleeting thought, an image that lingers, or even a dream. Then, I translate that inspiration into glass, carefully selecting colors, layering materials, and adjusting firing schedules.
“I want my pieces to show depth and feeling. I want to capture fears, hopes, and nostalgia—so that when people see my work, they recognize something of themselves in it.”
3. What challenges do you face in creating art with glass, and how have you overcome them over the years?
The biggest challenge is how far I’m willing to push myself beyond ordinary designs. Glass is unpredictable—sometimes an idea won’t work, but that’s never a failure. Each experiment teaches me something new.
Unlike stained glass, fused glass is forgiving. If imperfections arise, I can adjust and refine a piece. There are no strict rules—only possibilities.
4. Can you describe your process when starting a new piece? Do you draw inspiration from your surroundings, personal experiences, or something else entirely?
My ideas come from everywhere—dreams, nature, passing images, or even emotions. Before I start a piece, I need to feel deeply connected to the idea. Sometimes, that means sitting with an idea for years before I’m ready to bring it to life in glass.
The process begins with determining the size and layout. Color selection is one of the most time-consuming steps—there are endless shades to choose from, each affecting the final outcome. Once the design is ready, I begin the firing process, adjusting for the specifics of each piece.
5. Your pieces seem to capture light in such dynamic ways. What role does light play in your work, and how do you incorporate it intentionally?
Light transforms fused glass, especially when working with translucent materials. I often elevate my pieces off the base to allow light to shine through fully, keeping colors vibrant. Through trial and error, I found that clear acrylic dowels work best to achieve this floating effect.
With cathedral glass, color choices matter even more—contrasts between lighter and darker shades influence the final appearance under different lighting conditions.
6. You mention "transformation" in your artistic philosophy. How does this theme manifest in your glass art?
Transformation, to me, is about taking something ordinary and making it extraordinary. Glass art offers endless possibilities to manipulate form, movement, and depth.
One of my favorite examples is Girl on the Swing. I wanted her dress to appear free-flowing, lifted by the motion of her swing. Through testing, I determined that placing a fiber blanket beneath her skirt during firing would achieve the illusion of movement. Once removed, her dress floats off the base, bringing her to life.
7. How do you see the intersection of traditional craft and modern techniques influencing your work moving forward?
I focus on modern techniques while preserving the charm of antique windows, embracing their imperfections—flaws that tell a story and give them character. In today’s market, we have access to materials that redefine artistic possibilities, and one of the most exciting advancements is Dichroic glass.
Originally developed for the aerospace industry, Dichroic glass has now made its way into the artist community, offering a dynamic interplay of light and color. Its most fascinating characteristic is the way it shifts between transmitted and reflected hues depending on the viewing angle.
For example, in my Dichroic Octopus piece, mounted in an old window frame, the glass transmits a rich copper color when viewed straight on. But from a side angle, the reflective color transforms into a subtle shade of green. This shifting effect allows for an endless range of expression, making each piece a living, evolving work of art.
“The freedom Dichroic glass gives artists is unmatched—it’s a material that responds to light in ways that feel almost alive.”
By combining traditional craftsmanship with cutting-edge materials, I’m constantly exploring how the past and present can merge to create something new and visually compelling.
8. As someone whose art merges aesthetics and technique, do you have any advice for emerging artists trying to find their own unique medium or artistic voice?
Try everything. Don’t limit yourself too soon.
“The only way to find your true medium is to immerse yourself in as many forms of art as possible. Take classes, learn from different artists, and experiment.”
Before committing fully to glass, I explored other techniques. It wasn’t until I found fused glass that I knew this was my passion.
Cherise Kratsa-Hoak reminds us that art isn’t just about mastering a material—it's about exploring the self. Through 24 years of patience, experimentation, and fearless creativity, she has carved out a place for fused glass that is both emotionally resonant and visually striking. Her journey is an inspiration for any artist seeking to transform life’s most intimate moments into something luminous and lasting.
You can learn more about Cherise Kratsa-Hoak and her work via these links:
Website: https://artglassimpressions.com/about-me/
Facebook: Cherise Kratsa-Hoak
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