Blown, carved, and coldworked vessels by Jasmine Steinacker — single-piece runs, made by hand in the Blue Ridge.
Pulled from the furnace this month. Each is one-of-one — once it's gone, it's gone.
Glass is a liar. It pretends to be water, then it pretends to be stone, then it pretends to be a memory you almost forgot. My job is to slow it down long enough to hold a shape, and then to chase that shape with a wheel until it tells the truth.
I grew up in Ridgewood, New Jersey, and now work full-time out of my studio in Asheville, NC. Every piece is blown, then taken to the cold shop — carved, engraved, polished — until it sits exactly the way I want it to.
Each series is a question I'm still asking. New pieces enter and leave; some are retired permanently.
Every piece moves through three rooms: the hot shop, the annealer, and the cold shop. Most take 4–18 hours of work spread across a week.
Molten glass at 2,100°F is gathered from the furnace on a steel pipe, shaped on a marver, and blown out into a vessel form. Most of my pieces take three to five gathers — each layer adds color, weight, or a new shape memory.
The piece moves to the annealer overnight — a slow controlled cool from 950°F down to room temperature. Skip this step and the glass cracks itself from the inside out by morning. Patience is the most underrated technique in the craft.
This is where most of my hours go. Diamond wheels, lathes, hand engraving — carving back into the surface to reveal the layers underneath. The hot shop makes the form. The cold shop makes the piece.
A walk through pieces across collections and years — past sold, recent commissions, and work that lives in the studio between gallery shows.
Cluster pendants, sconces, single bell shades, and bespoke chandeliers — fabricated to your ceiling height, color story, and bulb spec. Most lighting commissions take 8–14 weeks from approved drawing.
I work directly with homeowners, interior designers, and a small number of restaurants and hospitality projects.
"Bought my second piece from Jasmine after my first one (the Tidepool, blue) became the only thing my guests asked about for two years. Her packing is insane — like, museum-shipping insane. The new piece arrived in a custom-cut foam shell, hand-signed certificate of authenticity included."
"Commissioned an 11-bulb pendant for our dining room. Jasmine sent sketches, color swatches, even glass core samples in the mail. Eleven weeks later it arrived and it is genuinely the best object in our house. Worth every penny."
"I source for a small handful of interior projects and Jasmine is on my permanent list. Reliable communication, real lead times (not artist-time), and the work photographs as well as it sits in a room — which is to say, exceptionally."
"Got the Honeyed Saucer for my mom's birthday — she's used it every Sunday since. The amber catches the kitchen light in a way no manufactured thing has ever done. Jasmine wrote a card by hand. The whole thing was just kind, top to bottom."
"The Obsidian No. 09 sits on a windowsill that gets a hard west-facing afternoon. It changes three times before sundown. I sit and watch a vase. That's the review."
"Have been collecting glass for fifteen years. Jasmine's coldwork is unusual — most blowers leave the surface as it comes out of the kiln. She doesn't. You can see decisions in every facet. That's rare and that's why I bought three."
The studio is open for collector visits by appointment Thursday through Saturday. Watch a piece come off the pipe, see what's currently on the cold shop bench, and pick something up in person. No fee, but please email ahead.
I take on a limited number of private commissions each quarter — vessels, sculpture, and lighting. Tell me about the piece, the room, the deadline, and the budget. I'll write you back within two business days with feasibility and a quote.
