About the Artist: Geoffrey Beetem

Geoffrey Beetem, in the contemporary handmade marble field, is regarded by many as the master glass artist in the use of dichroic glass in contemporary handmade glass marbles, Geoffrey Beetem is an artist who continues to explore the rich colors and unique technique that has become his hallmark. Beetem's fascination with glass began in 1980 while he studied stained glass techniques, which involved painting and fusion in creating effects. It was through this exposure to the technical aspects of glass and color theory that led Beetem to enrolled in a hot glass course at Ohio University.

Studying under the direction of Jane Bruce whose Bauhaus style, abit stiff and regimented, pushed Beetem towards the organic forms found in Italian glass. For Beetem Jioni Toso was an early influence revealing the blown and wrapped shell form with which Beetem elaborated upon to make larger pieces through reversing the wrap. This was his first experience with an Italian glass technique.

In 1987 Beetem was offered the hot shop technician position slot at the famed Pilchuk Glass School in Washington State. This was a great opportunity to study and work with the Best from around the World.

With so many world glass luminaries passing through, Beetem's glass skills were developed and eyes were opened, to Beetem it was quite unbelievable. The wide possibilities were endless.

Beetem worked with such noted artist as Lino Taglapiertra, William Moris, Rich Royol, Dan Daily, and Donte Marioni, His style, technique, and color theory were all strongly influenced by this increasable journey to Pilchuck.

Beetem's work reflects the tremendous power contemporary studio glass can exert on an artist. In addition to his sculptural Sea Shells, Compote, Nesting Bowls, and Column Nest series, he took the suggestion of a friend, Rodney Lyndon, to design marbles as well.

At this time there was very little known about dicroic glass, most people could not even pronounce it. This new material challenged Beetem’s sense of theoretical use of color. The dicroic had the ability to do a three phase chromatic shift, which became instrumental in the design of the planetary series, Earth and Moon.

Beetem's well known Stardust Marbles originated from his concept of cosmic debris trailing comet as the comet fly’s thousands of miles and hour through space. The trailing frozen crystalline objects he refers to as stardust. The dichroic effect is a perfect match in creating the effect. In the Stardust V-Lobe, his design is spiraling through the center core much like humane DNA. The Stardust Clambroth, design adapted from the antique clambroth marbles, has yet to be duplicate though many have tried.

It is the use of dichroic color and the inclusions of vibrantly contrastin

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