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Eric Markow and Thom Norris haven't always been artists. Markow's background is in chemical engineering, and Norris holds a degree in biology from The University of Maryland. Their scientific sensibilities meld perfectly with an eye for design. They began working with stained glass, but wanted to create art that was more tactile.
"As we began experimenting with the kiln that is used in the process, we began to think of ways that we could make the sculpture interesting," Markow recalls. "We came up with the idea of incorporating color and texture into some type of woven look that people would respond to through their senses."
"The national exposure was fantastic," says Norris. "We work with our weaves so much that sometimes we can get a little desensitized. It's great to see the reaction our collectors and new collectors have when they see our work. [CBS] reran it in August, which gave us another boost. It is a bit overwhelming with the volume of e-mails and phone calls that need to be addressed."
Partners in life and art for 15 years, Markow and Norris operate out of a 1400 square foot studio in the basement of their Falls Church home. They try to separate work from domesticity, but inspiration can quickly gel into something substantial.
Like magicians, Markow and Norris closely guard their techniques. Employees sign confidentiality agreements and don't participate in the weaving process. During the "CBS News Sunday Morning" segment, reporter Serena Altschul baits the two into explaining their methods. Smiling, they politely refuse.
Nancy Weisser, who is holding their show at her Kensington gallery, writes off the secrecy as a marketing strategy.
"They feel that it creates sort of a mystique about them," she says. "I don't know if that's necessary because the pieces are really beautiful and speak for themselves. They know I know, but they like to keep the mystery in it."
Markow and Norris stick to their claim.
"Nancy's been a good friend of ours for many years," Norris says. "She has seen some of the techniques that we use. She's a glass artist herself. So I think that she feels like she knows the basics . . . I think the reason we just don't divulge it is because we've spent so much time on it. We just get a lot of enjoyment out of the magic that looks like is in it. Our collectors really enjoy the mystery that's in it."
Guarding their process stems from legal advice as much as artistic integrity. When the sculptures started to grow into a serious business, their patent attorney advised them to keep their process a trade secret rather than going after trademarks.
"We had never heard of woven glass or even the concept when we started," Norris says. "We weren't in the art community per se like we are now. When we debuted the glass in 2004, people would tell us that there were a few people here and there attempting something like it. We don't really know the chronology, but we completely invented the technique that we use on our own."
In an online search, several woven glass Web sites appear. But none of the work seems to be as complex as Markow and Norris'. They have pioneered diagonal and circular weaves to supplement the original perpendicular pattern.
"I think some artists think they know what we do," Norris explains. "But it's not as simple as some artists think that it is."
Markow and Norris' work carries an undeniably commercial aspect. Their sculptures can be made to order or purchased in galleries. Norris realizes the line between true artist and a brand name is a difficult one to walk. Many pieces are one-of-a-kind. Others are released in limited editions of 15 handmade reproductions of the original artist proof.
"Due to the time-consuming nature of our weaving, we currently can only produce about 100 sculptures a year," Norris explains. "Eric and I make every one by hand, and we always have. We like it this way, and that really limits just how commercial we can become."
The option to hire a staff to churn out more pieces is there, but he and Markow don't plan on becoming a factory. This would involve hiring a large staff that wouldn't squeal. The real reason, though, is a desire to remain true to the organic process that earned them the recognition they enjoy today.
"We are both perfectionists, and it would be very difficult to oversee someone else creating our sculptures," says Norris. "Our waiting list has kept us very busy for years. Practically everything that comes out of our ovens after polishing is already sold and ships within days of being completed."
One way the pair matches retail appeal and artistic credibility is by staging exhibitions like the one at Weisser Glass Studio. Collectors can purchase pieces they have seen online, as well as view art that has yet to be presented to an audience. On Sunday, the first in a series of four full-length kimonos promises to snatch the attention of opening reception attendees. The piece reflects the show's Asian theme. An elephant wall sculpture and 35-pound origami cranes also will be on display.
"We've always liked the Asian culture," says Norris. "I went to kindergarten and first grade in Japan. We went to Hong Kong several years ago to visit and see more of the culture there."
In fairness, Weisser is a huge supporter of Markow and Norris. They have taken classes at her studio, and purchased their first kiln from her store. She is thrilled to be the host of their first formal Washington area solo show.
"I think they have really focused in on something very specific and they try to push it as far as they can push it," Weisser says. "I think it offers technical challenges, and their stuff is aesthetically pleasing to look at. It's a great combination of color, design and shape; it's sculptural; it's interesting. It's more than a flat plain, you know?"
Markow and Norris send the love right back.
Markow and Norris will kick off their show at Weisser Glass Studio & Gallery, 4080-B Howard Ave., Kensington, with a reception on Sunday, 5:30 to 8:30 p.m. An RSVP is recommended. The exhibit will continue through Dec. 6. Call 301-571-8966 or visit weisserglass.com.
