Cracked with Chevonne Ariss

Manila Roots, New York Fruits with Sacha Carlos-Raps

• Sacha Carlos-Raps • Season 4 • Episode 42

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Welcome back! It's Season 4 of Cracked! Today to kick it off I'm joined by Brooklyn based glass artist Sacha Carlos-Raps! She is a Filipina immigrant and not only makes beautiful glass work full of bright colors but also does printmaking and illustrations. Her art practice is "her rebellious demonstration against the good immigrant binary and the post-diasporic expectations of “first gens” Her work is memoriric totems that embraces the kaleidoscopic inner self, an ode to the abode and the absurd."
Today we talk glasswork of course but we're also going to talk about markets, candles, get into the making of her zine, her Oaxacan residency and then we wind it back down with some fun Phillipino facts.
Let's get into it...
Join me as I crack it all wide open!
To see more of Sacha's work, her instagram is @sacharaps and her website is sacharaps.com. For the Cracked Patreon members Sacha is gifting one of her super popular shrimp sun catchers.  I’ll be doing a raffle for that 12 days after the release of this episode. She’s also offering a $20 discount code to  the rest of the Cracked Patreon members and remember Sasha sells much more on her website other than glass pieces. I just ordered myself some an array of her gift cards and they’re so cute!
Honorable mentions from this episode:
Stained glass artists:
Soeun Lee
@soooeeun
Golide Poblador
goldiepoblador.com
(glass sculpture and scents! rare Filipino glass maker)
Restorer: Takuji Hamanaka
@takujihanga -he's mostly a printmaker now but was the late Mary Clarkin Higgin's assistant.
Non Stained Glass artists:
Dali thedali.org
Magritte renemagritte.org
Schiaperelli (fashion) schiaparelli.com
Arthur Midianga  @botcrisps
Residency:
pocoapocomx.com
Places she works/teaches:
Shiny Sparkle Labs, Brooklyn
 Craftsman Ave, Brooklyn
My face lotion 😂:
ulta.com



Canfield Technologies
Canfield sets the standard for the Stained Glass industry.

Bullseye Glass
~ handcast glass since 1974 ~

Paul Wissmach Glass Co.
Your Source of Colored Sheet Glass

Glass Patterns Quarterly
Patterns, inspiration and information since 1985 to glass hobbyists & professional artists.

The Stained Glass Association of America
The Professional Trade Association for Architectural Art Glass

Handy Hangers
The Handiest Little Hanger For All Your Metal-Framed Panels

Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.

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SPEAKER_00:

Hi everyone and welcome back to Cracked with Siobhan Aris. I've got some really fantastic artists to share with you over the next couple months and just like the three seasons that have preceded this one, I'm just blown away by the talent that comes on here to really bare their hearts and have such honest and insightful conversations with me. So shout out to everyone who has let me record them. We really have loved getting to know you. Before we crack I've got some sponsors I'd like to thank for making my craft possible. Up first is Canfield Technologies, who make my favorite solder and now flux too. You can check them out at canfieldmetals.com. I'd also like to express my gratitude to Wismac Glass. The Paul Wismac Glass Company has been making gorgeous, quality sheet glass for artists and designers for over a century. Learn more about Wismac art and kiln glass by visiting their website, wismacglass.com, following at I have a couple new sponsors this season that I'm really pumped about. First is a company called Handy Hangers. Shout out to Linda, who I've been communicating with over there. Not only has it been so nice to email with her, but she's really gone above and beyond with her generosity of product. It was really important to her that I personally tried the hangers before promoting them and I feel so good about supporting small businesses in general but supporting a small business who is also so invested in the quality of the experience of the customers and confidence in the product is such an added bonus so thank you Linda and everyone please do check out their hangers they're worth the hype and really are going to change the trajectory of how I hang my pieces moving forward their site is handyhanger.net The next one is a company called Kids Art Box. This one is for any of my listeners who have a child in your life, whether it be your own or not. It's creative art projects delivered monthly, themed by different notable artists. I'm currently working on a video where I reviewed a box that came from my daughter and I to work on together. She's eight, and this box specifically was based on the work by the artist Virginia Starrett. There's different levels of subscription to fit your kids' needs, and the quality of materials and tools was outstanding check out their website for more information it's kids are box.com and i have a discount code for cracked listeners that will give you five dollars off the code is glassworks5 such a cool small business to support the next one is pretty huge it's a company we are all so familiar with already and i know has been almost exclusively my go-to for glass especially for larger projects where i need a lot of the same color bullseye hand cast by artists for art Since 1974, their glass comes in hundreds of colors and styles. Each hue exists to help realize the vision of makers around the world, whether for kiln forming, stained glass, or mosaic. Find out more at bullseyeglass.com. We've also got Ed Hoy on deck. Ed Hoy's International is the largest art glass supplier in North America. They have a wide selection of art glass and supplies in-store and online. At Ed Hoy's, they are passionate about providing high-quality art glass supplies That's E-D-H-O-Y dot com. And lastly, but definitely not leastly, Glass Patterns Quarterly, who I did a review for their latest issue recently that you can see on my Instagram as well as my TikTok. I actually have it pinned, so it's right at the top, really easy to find. And you can check out all their subscription options and so much more at glasspatterns.com. Okay, let's get into it. We are going to start this season of Cracked in Brooklyn, New York, with glass artist Sacha Carlos Raps. She is a Filipina immigrant and not only makes beautiful glasswork full of but also does printmaking and illustrations. Her art practice is, quote, her rebellious demonstration against the good immigrant binary and the post-diasporic expectations of first gens. Her work is Memoric Totems that embrace the kaleidoscopic inner self, an ode to the abode and the absurd. Today we talk glasswork, of course, but we're also going to talk about markets, candles, and get into the making of her zine, her Oaxacan residency, and then we wind it back down with some fun Filipino facts. Let's get into it. Join me as I crack it all wide open.

SPEAKER_01:

I'm good. Just enjoying the mountains, I guess.

SPEAKER_00:

Oh, right. You're in Salt Lake City.

SPEAKER_01:

Yeah.

SPEAKER_00:

What are you doing in Utah today?

SPEAKER_01:

Today... They were going to go out for a hike after this, but I'm here just to visit my in-laws.

SPEAKER_00:

Oh, okay. Okay. So your partner is from Utah. No, they're all from New York. They just, his

SPEAKER_01:

parents just retired here.

SPEAKER_00:

Cool. And do you guys live in Brooklyn or do you, where do you live in New York? Yeah. I live in Brooklyn. Okay, cool. So I, I've actually met you before. But I don't think you remember. Yeah. Yeah, at Friend of All. Yeah, yeah, yeah,

SPEAKER_01:

I remember.

SPEAKER_00:

You do remember, okay. Yeah, yeah, yeah. When we

SPEAKER_01:

first opened, kind of, right?

SPEAKER_00:

No, it was, like, you guys did, like, a market where you had, like, vintage stuff.

SPEAKER_01:

Yeah. Well, it seems like forever. Yeah, I do remember, um, suddenly reintroducing me to you. And then, like, she told me about, like, oh, she's, like, creating this podcast and stuff like that.

SPEAKER_00:

Yeah, yeah. So yeah, so that was the first time I had heard of you. And then also when I had Kelsey McNair on last season from Soft Shapes, she talked about, she talked about you as a friend and your work as well. So I was really happy that she reminded me about your work. And then I asked you to come on to the podcast today. I'm so

SPEAKER_01:

honored. Thank you so much.

SPEAKER_00:

Oh, you're so welcome. Well, you're very deserving. So you're not just a stained glass artist. You do a lot of illustration and you do a lot of screen printing as well is it screen printing no it's not more

SPEAKER_01:

of um uh like block printing like I I

SPEAKER_00:

uh

SPEAKER_01:

I do more, like I use like, you know, like what linocuts are? Yes.

SPEAKER_00:

Yeah,

SPEAKER_01:

yeah. So it's more of that. So like block printing, like carving it and just printing it. Yeah.

SPEAKER_00:

Okay. Yes. I knew that. I don't know why I said screen printing. That

SPEAKER_01:

was

SPEAKER_00:

so easy. I mean, it's easy to lump.

SPEAKER_01:

No, no, no. It's fine. It's fine. I'm like, oh, I'm so offended.

SPEAKER_00:

We're off to a great start. Yeah. Okay. So I just want to read like a little excerpt from your bio, from your website, if that's okay. Through figurations and visual narratives, I aim to create memoiric totems as a record of my emancipation, familial histories and unlearning colonial mentalities. I use glass as a language to draw out the transient and ephemeral as it relates to systolic limbo of my immigrant identity. I integrate storytelling, investigate boundaries and questions identity in pursuit of reflection. Not just a vibe, not just a moment. Ya girl is hella honest with a story to tell. Wow, wow, wow, wow. We've got a lot of thought process here in this

SPEAKER_01:

paragraph. And that was before like, I think I made this before chat GBT and stuff.

SPEAKER_00:

Okay, so I'm just going to actually launch into something that's happening right now It's the other art fair. It was your very last post. And I want to hear all about this art fair because it says that you were also chosen to be part of the New Futures class of 2023. What does that mean?

SPEAKER_01:

Yes. It was so exciting that they actually chose me and the medium, like stained glass as a medium because the New Futures is pretty much, they provided me with a free exhibition space. for that weekend, some mentorship, and I think they promised almost like a lifetime guidance and advice for emerging artists who don't have enough representation or it's not usually people who don't get included in the usual group or roster of people who get to show their work. So it was my first time showing my my panels because I've been doing a lot of markets And I felt like, oh, this is going to be easy. But then when I got there and I have to talk about like all my panels, it was a totally different experience. I got sick after like two days after it, just like I lost my voice. I felt like it took so much just explaining more of my big work because it's, I don't know, maybe because it's more personal or like I made those for me. And like suddenly I'm just like, all right here's here's how I use my medium and here's how you can do it it's a lot

SPEAKER_00:

yeah now when you say sort of like underrepresented artists do you mean more in the sense because of like the Filipino aspect or because it's stained glass because those are both probably underrepresented I

SPEAKER_01:

think definitely both a lot of people who came by my booth were saying how they had like this like placid surprise surprise of like finally like they're um showing stained glass uh more as a fine art medium versus um high craft yeah everyone was like i've always like uh wanted to see more of this and yeah the reception of it was really confidence boosting and it felt like like very validating for the craft itself like all the investment um i've given to it and just having people say that they always like wanted to see more of stained glass in that way

SPEAKER_00:

it really makes that's that's that's a topic that we talk we've spoken about quite a bit here is that like writing that line between craft and art and there's nothing wrong with crafts and so we never want to you know what I mean like there it's always yeah but we do want to be more in the mainstream art scene true true

SPEAKER_01:

and and you know what like the most of of the people who came and like had like really just like this excitement, just seeing it are mostly the younger generation. Like I noticed, which is, I think it makes me more excited that, you know, there's like this new wave of people who would like continue this art form. Like they just like need more access to it. And I'm glad that the other art fair was able to provide me with that. And I was like, like just for like four days, I, I was given this glimpse of these are the people who are interested and like what you're doing is not that niche or stuff like that. So yeah.

SPEAKER_00:

Yeah, it's a very similar opportunity as doing markets, right? Where you get like that, like FaceTime with the people who are seeing your work. It's not just like all virtual. And I think with this generation specifically, there's a little bit more distance between the branding that stained glass has because of like the ecclesiastic uh sort of um vibe around it in like sacred spaces and so i think that like maybe this generation there's like there's some time has passed so like there's a little distance between um for you know the people that you were talking to and like people that are just like cannot separate stained glass from what they see in a church

SPEAKER_01:

yes yes or like they're saying that's with their um you know experiences at their grandparents home or stuff like that also like um their were a lot of Asian people who came up to me and said like oh wow you're only like one of I don't know a handful of people I know that does stained glass and like that's something that I kind of want to not fix but you know I just want to show people that this is not just like this art form that you have to have so much money or at least in New York there's so many ways where if you're a high schooler And if you want to learn more, they're like facilities who would, um, you know, help people to get access to it.

SPEAKER_00:

Yeah. Now, historically in the Philippines, like obviously we know for like in the UK or, um, even here in the U S like there's a pretty rich history of stained glass. Is there a history of stained glass in the Philippines? Do you see it there? Oh

SPEAKER_01:

yeah. But it's like solidly, um, it's religious. Yeah. So it's mostly, um, like there are people who make it but it's mostly for churches like that's my own My first experience to it, just like seeing the stations of the cross. So it's like a little comic strip of like what happened to Jesus. And it's always, you know, like when I'm in church, I would just like want to add like thought bubbles and, you know, make it into like an actual comic in my head. Like it's really entertaining. Since we were colonized by Spain for around 300 years, a lot of our practices are very, it veers towards like Catholicism. that's pretty much where the stained glass art lives.

SPEAKER_00:

Yeah, definitely. Okay. I'm actually going to switch gears a little bit and talk about you personally a little bit more before we jump into more of your work. But I did have a question from Instagram and it applies here. This is from at BFF Richie. She said, how long have you been doing this and what got you started? I think I know the answer, but I'll let you know. So

SPEAKER_01:

I've been doing this, I believe, like six or seven years. I started when I interned for Flannery. She just like blindly trusted me. I had no experience. I didn't even go to art school or anything, but it was like the perfect timing of me quitting my office job. I used to work in branding and that was like my first, not my first, but probably like my first job that I was proud of once I got my papers. But then like once I got it, I'm like, what am I doing in this office? You know, just being in New York it's it just seemed like being an artist or like working with your hands or creating art is everywhere and it's something that really spoke to me or it really wanted me to do something to the point that whenever I had to go to museums or when I see something beautiful it made me angry because like there's something in my soul that just wants to do something like that but I didn't know where to start Just culturally or how I was raised, my artistic spirit was never nurtured. I had to siphon it in industries that would either be a stable job. And for me, it was the advertising field. Yeah, but that's like a whole different soul crushing industry, but a very good creative practice, you know?

SPEAKER_00:

Yeah. And how old were you when you said you said you got your papers? I'm assuming you mean when you became an American, an American citizen? How old were you when that happened?

SPEAKER_01:

I moved here when I was 24 so I was born and raised in the Philippines and yeah just uh moved to New York because um I followed someone I love um yeah so that's like the hero's journey um story like um but eventually it's just uh yeah like I moved here I wanted to um just like A new life, I guess. I feel like it's never told that there are some immigrants who actually chose to move. Being part of the diaspora, we hear it a lot. And there are definitely challenges to it. And I feel like, for example, half of my family moved to the States for a better life. But for me, it was more of a choice. It's just a different facet to what we know as the immigration story or what what people go through when they have to, to uproot themselves. So, but to answer your question that happened in, I moved to New York in 20, 2011, like the end of 2011 or 2012. But yeah, I was like 24 and I eventually got my papers when I was like 28. So during that time in my twenties, it's like, you know, under the table jobs. And back then it was, It wasn't that easy. Like in New York now, like you can definitely find. you know, artistic gigs and stuff without having to have papers. But like during my time, it was so hard. Okay. I always like, I always feel like I started late and it's always something like a chip on my shoulder kind of.

SPEAKER_00:

Oh my gosh. No, you're still so young. No. Okay. So when you say that the normal immigrant story is, you know, looks like one thing and you feel like your story is a little different. Am I, am I interpreting it correctly when I say that a lot of times the immigrant story is like they're some kind of like upgrade, like a better life, like you're moving, you're moving, you know, your quality of life is getting better by moving to the US. And for you, are you saying that it was like a choice in the sense that it was like more of like a lateral move? Like you had a good life, but you made a choice because of your partner? Is that what you mean by that?

SPEAKER_01:

Oh, also just to make it clear, like that relationship that made me move here, it's like, it's not, it's not existed anymore. But like, that's like the catalyst. But to answer your question, yeah, it's like, we're always exposed to those story that kids were like plucked from their childhood and then like the culture shock of like being in this new place, which is definitely true. Like it happened to my younger siblings. But for me, it's more of a, and I was an adult doing it too. Like I'm very involved in like the Filipino immigrant community or the just people, the Asian diasporic community in New York. And a lot of the conversations is they didn't have a choice and like more of their, like how they make their art is more of a, like a longing, a longing to be like, But for me, my story kind of doesn't fit there. And yeah, I just feel like there's a few of us, especially children of the internet happened and stuff like that. We had more information and we're seeing it more like, oh, this is what this country looks like and stuff like that. And there's more of an active choice to, oh, I want to move there. Got it.

SPEAKER_00:

Yeah. Where did you live before you moved here? Where in the Philippines? In

SPEAKER_01:

Pasig, it's a city in Manila.

SPEAKER_00:

Okay. Do you go back to visit often

SPEAKER_01:

still? Not often. The last time I was there was in 2018. Yeah, once I got my American passport. So I went there, but ever since then, since then I haven't visited, but I really want to like, yeah, I guess I'm yeah. Like I want to be, I want to share my work there. And like, that's like my next goal in a couple of years from now.

SPEAKER_00:

Yeah.

SPEAKER_01:

But we'll get to that later.

SPEAKER_00:

Yes. Yes, we will. That would be really cool though. Did you live on the beach? no wait hold on i'm trying to think of the map right now like where manila is if it's is it

SPEAKER_01:

yeah i mean it's a it's an archipelago so yes there are beaches everywhere but manila in itself is in the center of like the biggest island and yeah so it's very much um urban living and um like we we have to travel on like three hours to the nearest beach which is good but growing up i had um my grandparents house had like this huge beach wallpaper like a photographic wallpaper of a beach and then I remember when I was like in second grade or something when we had to bring pictures of our family or you know and we would like post in front of it people would think that oh you live right in front of the beach and it's like how is that even possible we're like in the middle of the city but yeah it's like very tropical but very much an urban landscape from where I grew up.

SPEAKER_00:

Is your family very creative back in the

SPEAKER_01:

Yeah, especially my dad's side. We're from, I guess we descended from this province called Pampanga. And a lot of that, they're known for very good woodworking and cooking. You know, I have relatives who just like, they build their own houses. A lot of them, some of them are architects, but it's more the older generation. Like once, because in the Philippines, there are always like trends of what you have to be. So I guess during my time, it was like being a nurse and that's like the stereotype. Yeah. So now like people my age, like it's like stereotypical to assume that, oh, if you're a Filipino, you're a nurse.

SPEAKER_00:

That's so funny because I always feel like all my nurses are always Filipino.

SPEAKER_01:

Because we're so caregiving, I think, you know, it's just like natural for us to be like physically like touching and like whenever you meet someone, It's like, hey, do you want to like you want to feed them and stuff like that's definitely kind of like a lot of language that's prevalent in the country, which makes that job very easy, I guess.

SPEAKER_00:

Yeah,

SPEAKER_01:

it's like a natural

SPEAKER_00:

fit. You all very like internal. feel like every nurse in Los Angeles is Filipino. Probably some of those are

SPEAKER_01:

my cousins and my aunts.

SPEAKER_00:

Did they live in West Covina? I feel like everybody that I know is Filipino lived in West Covina.

SPEAKER_01:

I mean, they didn't. Most of my relatives, I mean, there's only one family. They're in San Diego, but that's more of a military type of environment. But yeah, a lot of nurses there.

SPEAKER_00:

Let's talk about the markets you've done because it's sort of like a natural parlay from the gallery show that you did, the art fair. Which markets have you done? Have you just done them in the city?

SPEAKER_01:

Yeah, and mostly I keep it local or at least near just because I'm traveling with glass and I don't want to add to my overhead. So as much as I want to you know go to LA or other cities yeah most of them I just do in the city this year though I did have a bunch of career pushing markets that involve the Asian American community in New York so the first one is during Lunar New Year it's called Welcome to Chinatown and they're this organization who you know highlights businesses in New York's Chinatown and other Asian American artists and they usually have this huge Lunar New Year celebration and I got a grant to sell my work in a transformed abandoned mall in Chinatown and it was the way that this group just really activates a space is so good so this mall it's almost like an iconic cultural institution in Manhattan and It's mostly abandoned, but for the Lunar New Year, they just fixed it. They gave me a space to have my work all together, to see it as a shop. no so it's my first time to actually like you know put stuff like shelving and stuff so yeah that was um that was a really great experience and that's when i felt the lack of like people who look like me in this in this craft i guess yeah because a lot of them are like oh my god um one of them was like you know i work with um like i go to urban glass and it's so nice to see someone who looks like me trying to push uh stained glass and more ice, I guess.

SPEAKER_00:

Yeah. How big was the little shop space? That sounds like a lot of work.

UNKNOWN:

Yeah.

SPEAKER_01:

I got a wall, but it's something that you enter. And then there's a glass. It used to be a stationary store. How big was it? Probably 50 square feet. I'm not sure about the measurements. But it was enough where I was able to fill my whole space with my work. And it felt really good to see it. all together because like when I go to the markets it's mostly you know pieces that I know that's gonna sell but having the opportunity to to show my work and kind of curate it in a way where okay this is your brand like that was like my first time seeing it all together it's like oh wow it works it's not just like a bunch of you know cute shit for the home and like it actually has a a cohesiveness to it

SPEAKER_00:

yeah Yeah. So give me a rundown of what you were selling. You were selling your nightlights, I'm sure, right? Nightlights. The shrimps,

SPEAKER_01:

which was a big hit. I also really tried to still sustain my printmaking practice. So I made candles. I'm sure you've seen it. So that's like a big seller too. And hand-printed cards and a bunch of suncatchers.

SPEAKER_00:

Did you bring any large panels?

SPEAKER_01:

I brought a couple just to showcase. people how like homes can look like this or these are bigger ways to use the medium

SPEAKER_00:

but did you did you get any leads on sales for the larger panels there or any interest on those

SPEAKER_01:

i think if anything i got more exposure to the organizations who who support artists like me so after that i had the my last market was the asian american foundation and this was like the bougiest like best market I've been in where every like all tables look the same they had like the they had funding um they paid me to be there which is insane and it was an invite only event but yeah it seems like this year it's more of showing my work to my community like I feel like that's like the strong theme that's happening in my life right now that and my move to an educator role.

SPEAKER_00:

Nice. Tell me more about your candles. They're so cute. Love them. Want to hear everything about what's going on.

SPEAKER_01:

So I think I saw one in an old vintage magazine of just this candle and there was a print on it. And it took me like... probably three months of playing around. As much as you can always paint on a candle, I want to be able to use my press or use my printing stuff. I call them printed candles. Each piece, each design is hand-printed and then melted into each tapered candle. It's definitely a labor of love. It would be faster if I just draw like like you know use acrylic paint and like draw on a paper candle but yeah it's it still works with the whole quote unquote branding of utilitarian cute shit that I try to sell yeah it's like one of my best sellers and I currently have had a bunch of commission for weddings and birthdays for it and they're always like I just want the date of my wedding but like make it your your style so that's always nice

SPEAKER_00:

what are you printing on to melt it onto the candle I print it on

SPEAKER_01:

Japanese paper. I forget what you call it here in the States. It's like, it's just a very thin one. And then it's usually in the gift bags. Oh, like tissue? Yeah. Yeah. Almost like something like that. It's like very thin.

SPEAKER_00:

Okay. Okay. And then you melt it onto the candle. Do you actually heat it up or do you just... Yeah, you have

SPEAKER_01:

to like heat it up. So like I'm still preserving the form. It's like, you know, like a technique. And I mean, I've never seen anyone do it. I've seen people who would like print on like slide transfer and then they would put it in a pillar candle, mostly for like memorial stuff, like a funeral or something. And then there's like the date. But if I do that, I'm not doing actual, I mean, it is still printing, but I want to be able to, you know, carve out my designs and, you know, have the practice of like the repetitions I think that was a great way for me to practice my printmaking skills.

SPEAKER_00:

Are you selling the candles right now only by commission? I try to sell them

SPEAKER_01:

on my website, but it's just so expensive to ship. Just because they're like 12 inches and I'm just so afraid they're going to break. So I usually bring them. That's my main thing when I do market. But I currently, this year since Friend of All moved to Philly, I'm more 100% just doing my work or full-time on my own stuff. So I just started saying yes to wholesale of that. So you can find it in a couple of places. in brooklyn

SPEAKER_00:

okay okay i'm always scared too so i'm currently in the process of sending candles out uh to my patreon page members like i have like cracked candles for their studios i don't know whatever

SPEAKER_01:

but i'm

SPEAKER_00:

like nervous

SPEAKER_01:

in a glass container or is it like

SPEAKER_00:

they're actually in concrete oh okay okay that should be yeah and so it's the candle is not like the decorative part it's more of the container and then yeah once they burn the candle then they can Yeah. Oh, that's amazing. yeah yeah

SPEAKER_01:

yeah i understand i feel like maybe if we just first paper like there's like hexagon and then it stretches i'm sorry

SPEAKER_00:

that's okay like the packing paper that's yeah yeah

SPEAKER_01:

yeah i feel like um that would like paper always helps in insulation temperature of the yeah of the candle and that's how when i read like how to ship uh like candles properly without melting most of them always use paper first and then then like bubble and stuff like that

SPEAKER_00:

okay that's a little hack right there that really doesn't have anything to do with glass but if you're wrapping candles okay I like that I'm gonna use it right now they're wrapped in wax paper I think it's like wax paper and then they have paper filling in the box around but

SPEAKER_01:

you do have like the topper right like the the one on top to preserve the the level of the

SPEAKER_00:

candle

SPEAKER_01:

you know the one where there's like a hole in the wick Pops up?

SPEAKER_00:

No, I don't have those.

SPEAKER_01:

You can just make that. Cause I think that helps with the, so that when, if it ever does melt, it doesn't like go one way, you know? Yeah. Yeah. And it doesn't get dusty from the packing materials. I gotta open. I mean, if you've already done it, it's like the, our main thing is like to melt the candle. So that's good. Like people will just use it.

SPEAKER_00:

I think I'm just going to like hail Marriott. And then if I get an email, it says, Oh, I loved it, but it was melted. then I'll just... I'll send them a replacement and then I'll make sure I do it right.

SPEAKER_01:

I mean, a lot of her work is always just like a Hail Mary, you know, and just like crossing your fingers or eyes or buttholes and stuff just to like, please make it look to this place properly.

SPEAKER_00:

Yes, yes. You recently contributed something to a friend's cookbook. It was The Dusty Kitchen. The cookbook's called... Mayumu? Mayumu. Mayumu. And what did you make to commemorate the cookbook?

SPEAKER_01:

Oh, I made her... So that was like my first project of like, okay, if people with a brand tried to contact me, so that was like a good, you know, like I had to... Like the tiniest carving of the title of the book, it's almost like as big as the nail on my thumb. Yeah. It's that small. So I had to copy the exact design and carve the name Mayumu, which is Katongpangan for sweet. She also hails from the same province that my dad comes from, where great cooks are known for. But anyway, I tried to copy how she styled her desserts. And a lot of my work is food-based also. So I was like... a nice transition to just like okay I'm just gonna literally draw out like how you style your cathedral jello like she has this like jello with it looks like that glass that has just like confetti on it and then stringers but in food form so I tried to kind of just like copy that with like a little cherry on top and just like you know repetition on the candle and since a lot of her were is food it just makes sense to you know have something on the table to also commemorate the the togetherness or yeah

SPEAKER_00:

it fit perfectly and you're right a lot of your work does have a theme of food or fruit but treats i would say just treats in general yeah um

SPEAKER_01:

do you cook a lot um i can hold myself in the kitchen it's almost like um like my family would shame me if i didn't know how to move around the kitchen. Recently, I just accepted that if I'm tired, I wouldn't cook. I guess not a lot. I'm scared to bake because it just seems like this totally scientific thing. Is your partner

SPEAKER_00:

Filipino?

SPEAKER_01:

No.

SPEAKER_00:

Do they enjoy Filipino food at least?

SPEAKER_01:

Oh yeah. I did the whole thing of giving them balut, which is the fertilized egg. You eat it and it actually looks like there's a beak. And some of them have feathers. And it's like this thing that you eat when you're drinking. And yeah.

SPEAKER_00:

No, I've seen this before. I actually went to a farmer's market and I thought I was just buying like.

SPEAKER_01:

Oh no. Like regular.

SPEAKER_00:

No, I didn't actually buy them, but he, the guy, I mean, he was Filipino, but I thought I was just buying eggs and he was like, you don't want these. You don't want these. And I was like, no, I want them. And he was like, no, you don't want these. And, and then cut to like, I found out why I didn't want them. And he was correct. I, in fact, did not want those, but those are really, Those are like really crazy. Those are really crazy.

SPEAKER_01:

Yo, I remember like my dad wouldn't, you know, when he's too busy to cook dinner, he would just like buy them off the street and that would be your dinner, that and like a cup of rice. And I just can't. Like, I mean, the soup, there's like the soup in it, which is, I'm sure it's like fluids and stuff. I'm sorry to all like the vegetarians and vegans who are listening to this, but that part is very delicious. Just like the, what do you call it? amniotic fluids or something it's like a nice salty soup but that's all that I can eat and then yeah we were raised not to be picky and you know it's a cultural thing it's

SPEAKER_00:

a cultural thing we'll leave it at that it's a cultural thing yeah yeah yeah so you've been making I don't know if you're still making them but you made some hardware that was also little treats but there was also some vases and some bowls and some ice cream and little cakes the drawer pulls yes are you still making those

SPEAKER_01:

yes but it's so hard to push at an in-person market because like no one goes it's I feel like when it comes to hardware for the home it's a purchase that you really have to like measure your cabinets and like count how many you know like things you need so no matter I would bring it to a market and people are like oh are these like like the top of the wine thing like wine stoppers or something and And I just have to explain to them like, oh, they're like door pulls. Like from time to time I would get like a sale, but it works better as an online product.

SPEAKER_00:

Yeah. And there are like industry standard for sizes, obviously for door pulls. So do you just buy like wholesale, like the backings and then just like glue your fused piece on top of it?

SPEAKER_01:

Yeah, yeah, yeah. The one that's hard is the one that comes with two pieces on the side where it's like more of a, yeah. Yeah. have like it depends on your cabinet and but those are like the really fun things to actually make like the long ones yeah But I got some sales of that from the other art fair, which is nice. And some commissions too. So

SPEAKER_00:

yeah. And you recently went on a trip. I know that you went to Greece. Did you go anywhere else on that trip besides Greece?

SPEAKER_01:

Oh, after that, I did like a residency in Oaxaca. Oh, wow. Yeah.

SPEAKER_00:

Okay. I definitely want to ask you about that then. But on this trip to Greece, you had a post where it's Nexian Marbles Oh, yeah. find it to sign up for it

SPEAKER_01:

I went to their website I think I'm not sure if that was an Airbnb experience it probably might have been but usually when I travel I make sure to like I want to do like a studio visit usually and they offered this crash course on sculpting marble and you know they gave us the history of what it was like where they get their marble quarry which is just like like an hour away and And it made me feel like, imagine having your materials just sourced from nature, like straight from nature. Like, imagine. It's a whole different thing. And yeah, it was so hard. it looks really hard I tried to make like a little vessel just out of like a stone that's like as big as my hand and probably took a full day carving through the stone and like having that control it really you know it reminds me of what it's like whenever I have to train new people in doing stained glass where everything just feels like suddenly like heavy and like how do I hold this properly but yeah it was like a really nice experience

SPEAKER_00:

yeah you probably were maybe a little better at it just because you do have like so much experience carving girl no

SPEAKER_01:

i thought i thought i was gonna be like oh this is this would like translate well because like i do like these really intricate stuff with you know linoleum and stuff but it does involve some hammering power that i'm not used to like a lot of it is just um hammering or chiseling all of like half an inch of stone. Like you put it on a plaster thing and then just like have to. It's crazy. Yeah. Whenever I think about it, I still like my shoulders still kind of like shakes a little bit.

SPEAKER_00:

And then after that, you went to Oaxaca to do a residency. What was that? So

SPEAKER_01:

it's this lovely place called Poco a Poco. And it was a full week of immersive printmaking techniques that very much socially conscious, I feel. Like they really made sure like in terms of materials, we weren't wasting anything. But she would think like, can I just like have another piece of paper? You know, it's like a normal thing to ask. And they're like, Not that they're not going to say no, but it was like such a eye-opening experience that like in the States, it's so easy for us to like obtain anything, art supplies and stuff. But there it's like, oh, these are actually like expensive for them to like to get. And they really wanted to highlight the importance of not taking from a community, which is very interesting because a lot of like, you know, there's gonna be like a lot of places who would our cities who would like oh use our city as an inspiration but they were able to to conduct a whole workshop where it's so just like conscious of like the people who live there like people usually go to Mexico for kind of like a cheaper way to source out certain materials or services and with the workshop you know we were able to like talk to people who do that for a living and like how it feels like to them like the the fine line between showing your work and sharing it to the whole world but they also have like their own um challenges with like since it's cheaper there like a lot of like textile people would just like start up their business in mexico and that usually you know like sometimes that can hurt like um a small cottage industry that they've been having for like generations So that was really an unforgettable experience. I made a lot of great artist friends from that workshop. My teacher, Marco Velasquez, was really talented. And yeah, I highly recommend people to, if they're interested in printmaking, to apply.

SPEAKER_00:

That's great. That's such a level of mindfulness. You're right. That we just like never. Cause

SPEAKER_01:

they're always like, okay, I'll go here for inspiration, but you never think about that. It's like an act of, it can also like, if you're not conscious, you're taking something also. And yeah, it made like the whole experience or just like even thinking of a project, totally different. It's not like, okay, I'm going to apply my own aesthetics. or like how I usually want to make, but I'm just going to be making it in this vibrant village and their raw materials. But instead it's like, you're going to, like we started the whole workshop with a hike and like they explained like, okay, this is like where we live, where we were born. And you know, water here is very, you know, they had like a lot of strikes with like how the government supplies their water and yeah, stuff like that.

SPEAKER_00:

That's awesome. Awesome. And can you make sure you give me the link to that so that I can make sure I put it into the show notes?

SPEAKER_01:

Yes, yes, yes.

SPEAKER_00:

Great. Where are you teaching? You've mentioned your own experience teaching a little bit.

SPEAKER_01:

Well, I started when I worked at Friend of All. At first, it was just me and Flannery. I cherish those memories of just the two of us in her small studio. And then eventually, she had a really beautiful growth in her business that we had to have like eight people like making lamps. And, you know, the same reason why I'm able to do this is because, like, FAN doesn't really, you know, discriminate in terms of your, I guess, your art education and stuff. So it's just, like, people who wanted, like, people who wanted to get into the art just, like, applied. And, you know, sometimes it's hard. It's just, like, people become, like, vulnerable if it's, like, a skill-based thing that you're teaching. So I was able, like, really learned a lot in how to handle um teaching a new skill to people just like working with Flannery for like seven years but that's where I start I feel like I got my start in teaching because it just became a part of my day to day and right now I'm teaching with Chinese Sparkle Studio in Redhawk which is owned by Matthew Perez Day and Dory Guthrie there are these like amazing glass fabricators and artists who work with a lot of like well known glass artists and they I usually teach their fuse and lose class which is like a three-hour class where I teach people how to fuse coasters and trays. So that's like one of my teaching gigs. The other one is this place called Craftsman Ave, which I teach English classes with Kelsey. And this one is more of an all-in-one studio. There's woodworking, there's welding, there's knife smithing, and it is literally the most organized studio I've ever seen in my entire life like imagine the owner being a who's like a very good woodworker who's just able to create like the perfect jigs or just like we have like we have this um stained glass trolley which um i can show you a photo where it's just like i feel like he can sell this because it's there's just like shelving in it but it's just like something that you can push around shelving for your glass and then like everything has like a place for it so yeah so that's craftsman av and i also do urban glass um right now kelsey and i are teaching 13 year olds to do stained glass every thursday for like the past two months which is um very fun yeah

SPEAKER_00:

i taught 13 year olds also randomly that was the only grade i ever taught but i taught at a summer camp it was it was really interesting it was fun it's a fun age it's an interesting fun age

SPEAKER_01:

yeah it's like how they would. interpret your uh your instructions or like what they would design it's funny because at first um if you give them an example of like okay for example you make this star and then everyone will try to make a star so you have to like think about how you're giving instructions so it doesn't limit them it's a very um good experience i feel and just uh and being in um wearing this like new educator hat

SPEAKER_00:

yeah and just observing them even like just like the little conversations that they have when they're just like working together and you're not speaking

SPEAKER_01:

for this little school like the boys are so They're just like helping each other and stuff. And the girls who are like, you know, 13 year olds and stuff are like, oh my God, you're so fast. I hate you. It's like the conversation that they're having is just so funny.

SPEAKER_00:

Well, everybody that's on the East Coast, not even just in the New York area, but listen up. You too can take classes from Sasha. You also did another project I wanted to ask you about. You made a zine over the pandemic It's called the... Oh, the Hilata Tales? Yeah. It says... It's illustrations and stories on the Philippines legend of the pineapple, Carabao, Sampaguita, and Maria Cacao. Okay. Collected from memory and from lovely conversations with friends and family from the motherland during the pandemic.

UNKNOWN:

Mm-hmm.

SPEAKER_01:

So I think I did that because I just... I guess I was in that artistic phase where I feel that everything I should make has to be strictly rooted in my... My culture. Yeah, my heritage. I feel like now I'm finally at the point where, you know what, like, I am Filipino, whatever I, I'm Filipino, I'm Asian American, whatever I do will be that, even if it's not, you know, a direct, um, translation of a theme and stuff. But anyway, I really did love making this zine because I also tried to write it in Tagalog. I mean, obviously I didn't print it, but it was a good experience just talking to my parents and having us decide, what is this word again? What does it mean? But yeah, it was also a learning experience because some of the legends have very heavy colonial themes and I've never noticed it. So in the legend of the carabao, which is a water buffalo, the antagonist is this mythical creature called a capre, which is pretty much just this giant who smokes cigarettes and lives in the trees. But the way that they describe it is very... It's racist. like the features that they tried to characterize this mythical being. Yeah, so that was like a shock to me. And since the pandemic, that was also when like the Black Lives Matter was happening. And like, you know, it was like, wow, I can't believe that something that the unlearning of everything, it's like, there's so many avenues that you can just, if you're not conscious about it, or if you're not not actively trying to unlearn something then you wouldn't notice it so yeah that was kind of so writing that story was a little hard because i would talk to you know i would talk to my parents and they're just like that's just like how it is that's how the monster is described but you know it doesn't have to be it's a mythical being it can be anything you know like the main thing is that it lives in trees and it smokes a cigarette like a huge ass tobacco cigar and you know it doesn't have to look like a certain race or you know have these um identifying physical characteristics but yeah so I will always cherish that little book. And it was a good way to practice some illustration during the pandemic. Yeah. So I usually bring it to like fairs and stuff or just like an add-on whenever someone buys an item from my shop.

SPEAKER_00:

Okay. And do you acknowledge the racist sort of like under and overtones and the unlearning? Is that part of the, yeah.

SPEAKER_01:

Yeah. I like, I have a page there where it's like, okay, like this is actually coming from, you know, like a very, you know, colonized like mindset and some people actually felt like it's a tough conversation because like you would talk I would talk to my friends my cousins about it and it's they feel like trying to change it is trying to change the tradition or the heritage or you know but some of them are like they agree it's like yeah it doesn't have to be like even how I drew it so this is like the main not sure if you can see it but let me see this one yeah this area right here so this is my interpretation of that monster like it still has like the menacing and you know like aspect of it but it didn't have to have like thick lips or curly hair and stuff like that

SPEAKER_00:

yeah so for our listeners who can't see what you're holding up you made a pillow um you printed a pillow uh basically and can you describe uh what your interpretation was looks like

SPEAKER_01:

it looks more of like um like a botanical um How would I describe this? You know, it just looks like an evil tree with like a huge eye in the middle. The texturing that I used made it look, I guess, like menacing or like a little scary. Just to show that in this legend that it is the antagonist.

SPEAKER_00:

Yeah, that's interesting. Yeah, that is a really hard conversation to have with like family and especially older generations because it's yes so hard for them not to take it personally

SPEAKER_01:

it's like this is what my grandma told me you know like they would like say stuff like that and it's like yeah so even like for me printing out and like sharing this story as a new interpretation of it it felt like okay like you know a chapter doesn't have to look like this like it was so hard I think it was like a full month of like discussions with friends and family from the film and just you know like what they think of it and

SPEAKER_00:

yeah yeah yeah good on you that's amazing thanks okay so in my preparation for my interview with you today I was looking up facts about the Philippines and I wrote some fun ones down and so I thought I would just go through my list and probably most of them you know maybe some of them you don't some of them are like silly some of them are like more actual important some of them are ridiculous okay okay so So I just, some people might not know this, but at the end of World War II, 1946, was the year the Philippines became independent from the U.S. That's kind of like an important one. That's not a silly one. The second one I wrote down was the earliest known anatomically modern human was from the Philippines, is traced to the Philippines. Did you know that? Oh,

SPEAKER_01:

yeah. Yes. And it's from this part of the archipelago called... and so it's like like if you look at the map of the philippines it's this like long island that looks like an arm and it's so beautiful there like if you have to visit um that's like one of the best places to go yeah i think they were called like um and yeah they were um Yeah, there were definitely, I mean, apparently

SPEAKER_00:

there were like the first. There are 7,641 islands in the Philippines and only 2,000 of them are inhabited. If you visited one a day, it would take you nearly 21 years to see them all. What?

UNKNOWN:

What?

SPEAKER_00:

Yeah. Let me say that again. There are 7,641 islands. Only 2,000 of them are inhabited. And if you visited one a day, it would take you nearly 21 years to see them all.

SPEAKER_01:

That's like a full adult life.

SPEAKER_00:

Yeah. Yeah. Okay, the next one is beauty pageants are huge in the Philippines. They're like really, really big. Yo,

SPEAKER_01:

yeah. For real, it is. It's like, okay, yeah. It's so prevalent that whenever I used to get like a cut or like I would get a wound, like my mom or my grandma would say like, oh, you wouldn't be able to join a pageant now.

UNKNOWN:

Okay.

SPEAKER_01:

It's just ingrained in their head as if everyone wants to do that. And yeah, it's huge until now.

SPEAKER_00:

Did any of your friends or family enter

SPEAKER_01:

pageants? No. I mean, mostly now people who enter it are people who get to represent the Philippines and Miss Universe and stuff. They're mostly half white. Because that's still, sadly, the standard of beauty.

SPEAKER_00:

Mm-hmm. The next one is Filipinos spend more time each day on social media than any other country in the world. According to a study done in 2020, the Philippines is the social media capital of the world for the third year running. People in the Philippines top the daily average charts, spending an average of nine hours and 45 minutes a day per day online. I mean...

SPEAKER_01:

I do not disagree. I feel like a lot of people... I guess it's the... it's like a good shortcut to still feeling part of a community or like, because we do love like gatherings and like just being together. And I guess like everyone wants social media is addictive, but too, it's just part of the culture to want to know what people are doing,

SPEAKER_00:

you know? Yeah. Yeah.

UNKNOWN:

Yeah.

SPEAKER_00:

You Filipinos are nosy. No, I'm just

SPEAKER_01:

kidding. Yeah, we are. No, for real.

SPEAKER_00:

So many Filipino last names are Spanish because the names derive from the Spanish conquest of the Philippine Islands and its implementation of a Spanish naming system. After the Spanish conquest of the Philippine Islands, many early Christianized Filipinos assumed religious instrument or saint names. So like, for instance, your name is Sacha Carlos Raps,

SPEAKER_01:

right? Yes. Raps is my husband's surname. My Filipino surname is Carlos. It's very Spanish sounding. They just used this huge book and people just chose what they wanted back in the day. Like before, we didn't have any surnames or whatever. It's just like being colonized by Spain. And yeah, so in Mindanao, if you go there, so Spain wasn't really able to, you know, colonize them the same way that they colonize like the other islands. So their surnames sound different or yeah.

SPEAKER_00:

Interesting. Okay. That's all I wrote down. It's a pretty healthy mix of good

SPEAKER_01:

information. And I really appreciate it too. Thank you.

SPEAKER_00:

Yeah, of course. Okay, I'm ready to ask you your final three questions. Okay, let's do it. The first one is who is your favorite stained glass artist?

SPEAKER_01:

I mean, most of them you already interviewed. You have such a good guest list in all your seasons. But I guess for people that you haven't interviewed, I would say my girl Suwon. Suwon Lee?

SPEAKER_00:

Yes. Yes. Kelsey talked about her as well.

SPEAKER_01:

Yeah, she's like... She's like... She makes me feel like if I really nurtured drawing my whole life and then just apply it to this craft, this is what it's going to look like. She has such a good eye. I also miss working with her side by side because we used to, after a long day of making lamps, we would do our own projects. I usually do it together at night. I miss the experience of just making fun of weird color choices or you know asking each other like um you know what's a good glass for this and trying to find it yeah but she has um the way that she does um her still life of the home i'm sure you've seen it it's like um like uh so when makes um you know this little vignettes of like kitchen or it's very it's like there's like a quiet domesticated feel to it but she does it in a very I'm not good at describing art, but her color choices, her perspective is just top-notch. And yeah, I really feel like people should look into her work. Another glass person, not sure staying glass, but I do want to boost Goldie Poblador, one of the rare Filipino glass artists. Not sure if she does stained glass, but she does more like sculptural things like involving glass and scent, if you can imagine. Yeah. So look her up. She represents our country well. Haven't met her, even if she's in New York. So I hope I get to, you know, because there's so little of us. in the glass world at least yeah so she's another one and Takuji Hamanaka he was the assistant of this lady who passed away and like I'm sure like Flan probably talked about like us going to their studio and inheriting some of their gear but the way Takuji uses printmaking but being an assistant to this glass respirator is just beautiful.

SPEAKER_00:

Yes, she did speak about him in her interview as well. I feel like anybody listening to this needs to go back if they haven't heard it yet and listen to Flannery's next. Yes. There's a little bit of overlap of storylines. Okay. And then who is your favorite artist outside of glass?

SPEAKER_01:

I mean, I'm really... into like surrealist artists so you know like the usual suspects like dolly mcgree or in fashion schiaparelli uh one surrealist artist that i met during the other art fair is arthur and he's yeah he's a painter yeah he's one of the new features uh winners as well and yeah go check out his work and i will tell you his um instagram handle after

SPEAKER_00:

Yeah, I'm going to ask for all of these links if I can't find them myself. And then the final question is, what are your five to 10 year goals? I

SPEAKER_01:

would want to be able to share my work in the Philippines at some point. You know, I think because Glass is a material there. I'm not sure if it's we have the same supply or, you know, we usually use the kapi shells as our, you know, pieces for the windows or our like lamps or like anything lit. Instead of glass, we use like shells. Usually, they would dye it to have the color. I want to show a modern take on glasswork and show it to my friends and family there. That would be my goal in hopefully five years. Just getting more minorities involved in this craft. Be it teaching some more or being able to partner with organizations that are able to supply me with a place to teach or a group of people. I would like to do more of that. And... I guess my goal would also be knowing that I'm very privileged to be able to do this, being able-bodied. I guess my goal is just to take care of myself some more. As I grow older, making sure I'm doing proper exercise because you can't teach a new generation if you're deteriorating and

SPEAKER_00:

stuff. That's a good one. Nobody else has said that as a goal before. That is a goal for all of us. for the next five to 10 years is making sure you stretch and make sure that you're keeping limber in the ways you need to be limber. Yes. Yeah. Because we have to pass this on. Yes, we do. Yes, we do. Oh my gosh. Satya, your entire life is a celebration of color. And for that, I thank you in a world currently trending in neutral tones. I feel like when everyone else is silent and sparse, your church giggling and fully stocked. And

SPEAKER_01:

so that's exactly how I feel like I'm always like giggling in church with just like how they make Jesus love a certain way or, you know.

SPEAKER_00:

Yes. Yes. Thank you so much. You're welcome. Thank you so much. What an honor and a pleasure to speak with you today. I'm so happy you said yes to come on to the podcast and have a wonderful and productive day in the studio today. And I'll talk to you really soon.

SPEAKER_01:

Thank you. And make sure you share your skincare tips to all your listeners because you are glowing. Oh

SPEAKER_00:

my gosh. So I just have to say really quick. Sasha messaged me like a month ago and was like, tell me your skincare girl. And I think she was just like it was just like a quick little like comment and i literally wrote her like no for real because like an entire book

SPEAKER_01:

using the respirator and stuff like it really does something to like that part like for example like my cheeks part and stuff and like you and it makes i feel like it's really pulling my face down and like when i saw you that day like in your story you're literally like plump af and like glowing so it was a real ass question

SPEAKER_00:

I'll put a link to the moisturizer I use. I don't use anything expensive. That was the thing that I was also telling you is I was like, you have to try this... What is it? What is it? It's the sickle fate. I think lotion by what's the brand name. I want to say a theme, but it's not a theme. It's a, hold on. I'm just going to grab it real quick. So now I feel like I have to say the word while I'm here. Okay. It's the sickle fate lotion from Avina.

SPEAKER_01:

Yeah.

SPEAKER_00:

Yeah. Something like that. It's it's French and it's totally not expensive. It's like one of their like drugstore lotions. but it's, it's real thick and I like it on my face.

SPEAKER_01:

Well, you look good. Wait, I have a suggestion for the podcast.

SPEAKER_00:

Okay.

SPEAKER_01:

Maybe you should have a segment where your guests can, um, invent, like if there was like a tool that they can invent for the craft, like what would it be? Like, it could be like really absurd and just like, you know, there's no way it's going to happen, but this is something that me, like working in a studio with other, um, stained glass people it's like one of my favorite conversations because like we would like think of like these um machines that would you know just like make the job easy and can i share one yeah i was just gonna ask here you you have to start it all right so first is called the soldering angel which is um this contraption where you're pretty much like floating in the like you're like tied down too so that when you're soldering you're you're not like looking down and it kind of protects your neck like obviously this is not gonna happen okay but it's just like a nice um you know exercise of like what like let's make like this like dream contraption or like tool so anyway so you're like lifted up by like i don't know like a crane or something and then you have these um you know those exhausts in like korean barbecues that just like really you know get this small so obviously you'll have one of that just so this the while you're soldering it doesn't like go straight to your face yes so it's pretty much like it'll also include like the donut pillow when you put your face in a massage chair so yeah so you're pretty much just like floating like this you're just like soldering

SPEAKER_00:

so you can rest your head on it so that your head doesn't get tired also you could just like okay i'm seeing

SPEAKER_01:

it you're like in a plank or something and then you're just like soldering um prawn position is that what it's called what is like when you're prone oh yeah yeah or like prone prone prone yeah your face is pretty much down like when you're getting a massage so like that's the position and then you're just uh soldering so that's the soldering angel um faith and fending um there's a bunch of people involved and another one would be um maybe like since we're already talking about skin care imagine like a rest that also kind of like, I don't know, like heals your skin or something or like makes

SPEAKER_00:

your skin like... Oh, it's like a mask, like a facial mask at the same time? Uh-huh, but it's also a respirator. Mm-hmm. Mm-hmm. That would be nice too. Those are the... I like that. Or maybe like an awesome kind of like oxygen mask where it has its own, it's like a bubble around your face. And so the air that's coming in that you're breathing is like infused with something. So it's just, you're breathing and it's good for your lungs. And it's like, it's, it's almost like an astronaut helmet. And so you're just like, yeah. And it also like, imagine if it

SPEAKER_01:

also like helps your hair and there's just some like healing properties and stuff. No, there's like, it's fun. It's fun to think about these things. It is the air. Yeah. to make you smarter, maybe? Yeah, yeah. And just, like, give you, like, a boost of energy as well. Yes.

SPEAKER_00:

Energizing. Yes. All of this. Yeah. And then the world would know that stained glass artists are superior. They would really know that.

SPEAKER_01:

Yeah. Like, we're, like, at the same level at NASA. Yeah. Delusional queens over here. Well,

SPEAKER_00:

on that note, my fellow delusional queen, I adore you and I really will. I'll be in touch. I'll talk to you really soon. Yes. Thank you so much. Bye. To see more of Satya's work, her Instagram is at SatyaRaps. That's S-A-C-H-A-R-A-P-S. And mine is at Runa Glassworks. That's R-U-N-A-G-L-A-S-S-W-O-R-K-S. For the Patreon page, Satya is gifting one of her super popular shrimp suncatchers to a lucky Patreon member. I'll be doing a raffle for that 12 days after the release of this episode, which will be Sunday, July 2nd, 2023. She's also offering a$20 discount code for her online shop to all the other Patreon members. And remember, Satya sells much more on her website other than glass pieces. I just ordered myself an array of her gift cards, and they're so cute. Next week on Cracked, I'm joined by Jack Brindley from Pavilion Pavilion in Edinburgh, Scotland. Listen in as we discuss how and where design, architecture, craft, and art all come together. Thank you for listening. I'll talk to you later