Today we’d like to introduce you to Emily Clair Potter.
Hi Emily Clair, please kick things off for us with an introduction to yourself and your story.
I’ve been drawn to art for as long as I can remember. Growing up, I was often discouraged from pursuing it as a career—the most common refrain being, “You can’t make a living doing that.” But despite those warnings, my passion for creating never faded.
I discovered glassblowing in my 20s while attending university. The moment I saw it in action, I was mesmerized. There’s something captivating about watching molten glass transform—it’s both fluid and precise, and I was instantly hooked. What fascinated me most is how it requires unique coordination; you’re often doing two completely different things with your hands at the same time. It’s not a skill anyone is born with—it takes time, repetition, and a lot of patience.
Early on, I asked more experienced students if I could help or just watch them work. One of the advanced students was generous enough to mentor me, and from there, I began to absorb everything I could. I eventually got a part-time job working alongside my professor, as well as another position at a local studio near my home in Toledo, Ohio. Those experiences were invaluable and helped me build both technical skills and confidence.
After college, I moved around the country for different glassblowing opportunities. The glass community is fairly small, but incredibly supportive—everyone wants to see each other grow and succeed, which makes it a special environment to be part of.
Last year, my husband and I took a class at Monarch Glass Studio on Truman Road with visiting artist Julia Cordi from Hawaii. We had an amazing time—not just in the class, but exploring Kansas City. On our drive home, my husband received an unexpected email offering him a job at that very studio. Coincidentally, Belger Glass Annex, the other major glass studio in town, was also hiring. I applied, and when I got the call that I’d been offered the position, it really felt like the universe was sending me a sign.
We’ve now been in Kansas City for about a year, and I truly believe it’s a fantastic city for artists. I’ve been able to continue developing my personal body of work while also completing commissions and repair projects. The creative community here is welcoming and collaborative, and although the glass scene is still growing, I’m excited to be a part of that growth and help strengthen it however I can.
One of the most exciting developments since joining the Belger Glass Annex team is the launch of a brand-new residency program for emerging glass artists. I’ll be overseeing the program, mentoring the resident artists, and helping guide them as they build their skills and explore their own creative voices. It’s incredibly rewarding to be in a position to give back—to support artists the way I was supported when I was just starting out. My goal is to help make Kansas City a hub for glass art by nurturing talent, fostering collaboration, and building a strong, inclusive community.
Would you say it’s been a smooth road, and if not what are some of the biggest challenges you’ve faced along the way?
My path hasn’t always been smooth. Like many artists, I faced a lot of challenges early on trying to make a living while still developing my skills. Glassblowing is a beautiful medium, but it’s also one of the most expensive to pursue. Access to equipment, materials, and studio time can be a major barrier, especially when you’re just starting out.
A few years ago, my husband and I attempted to open our own glassblowing studio in Florida with the help of a business partner. It was a huge leap, and while I learned a lot from the experience, it didn’t turn out the way we’d hoped. I quickly realized that not everyone operates with integrity or follows through on their word. That partnership ended after just two years, and we found ourselves starting over again—this time across the country, with very little money and no real sense of stability.
Constantly moving in search of opportunities also made it difficult to put down roots. We were always trying to build connections from scratch, find new craft shows, and reintroduce ourselves to new communities. It was exhausting at times, but I never lost sight of my passion or my belief that it would all be worth it.
Now, being in Kansas City feels like turning a page into a new chapter—one where I can finally stay, build something lasting, and grow within a supportive community. I’m excited to put down roots here and continue contributing to the glass scene in a meaningful way.
Alright, so let’s switch gears a bit and talk business. What should we know about your work?
I’m primarily a glassblower with a focus on sculptural work, though I also work in glass fusing and flameworking. Much of my inspiration comes from nature—floral and botanical themes often appear in my pieces. In addition to hot glasswork, I do a significant amount of hand engraving, which adds intricate detail and depth to the surfaces of my pieces.
One of the works I’m most proud of is a large-scale glass tree branch sculpture adorned with flower buds and leaves. Not only was it technically challenging, but it was also one of the largest teams I’ve ever led—five people in total. Coordinating that effort and bringing a shared vision to life was incredibly rewarding.
What sets me apart is my constant curiosity and desire to explore new techniques and materials. I’m always looking to expand my skill set—whether that’s experimenting with a new glass process or incorporating other materials through mixed media. I love finding unexpected ways to combine elements and push the boundaries of traditional glasswork.
So, before we go, how can our readers or others connect or collaborate with you? How can they support you?
I love working with a team, especially in the collaborative environment that glassblowing naturally fosters. If you’re a fellow glassblower, I’m always open to new projects—feel free to reach out and we can explore something together.
Lately, I’ve also been branching out into cross-medium collaborations. One of the most exciting recent projects was Silica Stack No. 1, an abstract glass and ceramic sculpture created in partnership with ceramicist Joel Pisowicz. I would love to work with other artists that specialize in a different medium than glass.
My husband and I run our own glass business, OP Glassworks (short for O’Brien Potter), where we sell our work online and at local craft shows. You can find us this September at the 45th Annual Art Westport Show.
If you’re curious about glassblowing or interested in taking a class, I also teach at the Belger Glass Annex—come visit!
Contact Info:
- Website: https://opglassworks.com/
- Instagram: @ecpglass and @opglassworks
- Other: Email: emilyclairpotterart@gmail.com
