My blown work reflects my continued exploration and development of the asymmetrical forms that we started with the "Whacko" series. The asymmetry is tempered by the order of the pattern and the physical balance of the piece. Our nontraditional techniques of blowing glass have resulted in new technical challenges, such as developing the neck shape with the piece hanging upside down.

The postures of these pieces, hopefully, reflect liveliness that references cranes, storks and other long-necked creatures in nature. Also, I am concerned with natural bulbous and linear sculptural shapes that reflect growth or inflation. A serendipitous result of the new forms has been the exposure of the insides of the pieces.

Color continues to inspire me. The recent sunrises and sunsets up on my knob (Kentucky small mountain or big hill) have been particularly brilliant and expressive because of frequent storms and, probably, global warming.

Working with my crew, not distracted by anything, being able to totally focus on the hot mass of molten glass on the end of the pipe, mesmerized by the pattern of murrine, this is what I want, time stands still or, at least, goes to slow motion. Working in the zone!

My work is mostly about color. The artists that have the most influence on my work are Mark Rothko, Kenneth Noland, Claude Monet, and Georges Seurat. In addition to these influences, I have always been drawn to the physicalness and directness of Jackson Pollock.

I was drawn to the process of glassblowing because of the immediacy and intensity. I have always been something of a pyromaniac, as my background in ceramics was mostly involved with the raku firing. I do have a love of fire.

As for the pieces, I hope that my color combinations are unique and that they trigger emotive reactions. The shapes of my pieces are influenced by the gestures and postures of the human figure. A final element of my work that is often overlooked is the texture created by the thousands of colored beads applied to the surface. Museums and galleries may not like it, but I encourage viewers to touch my pieces. I must admit that I take a certain delight in catching a viewer fondling a piece of mine.

— Stephen Powell