If I’m being honest, getting back into the studio after a busy show season isn’t always easy.
Between preparing for shows, traveling, selling, packing, unpacking—and then the holidays layered on top—my energy usually goes straight into rest mode. The kiln sits quiet. The studio gets a little messy. And suddenly weeks pass without me making much of anything new.
If that sounds familiar, you’re not alone. This is exactly where I’ve been.
Instead of forcing myself into a big creative reset, I’ve been easing back into fused glass in small, very doable ways. Here’s what’s been helping me reconnect with my work without pressure.
1. I’m Resetting My Studio—Just Enough
I don’t need a big studio overhaul. I just need to clean up enough that I can sit down and start working again.
I’ve been focusing on small wins:
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Clearing off my main work table
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Putting tools back where I can actually find them
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Sweeping up glass bits that somehow migrate everywhere
I’m not trying to make the studio perfect. I just want it to feel like a place I want to step into again. Even a little reset makes it easier to start.
2. I’m Finishing Pieces That Were So Close to Being Ready
During the holiday rush, I had several pieces that were almost finished—but not quite.
They just needed:
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One more firing
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A little coldworking
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A final detail before they were complete
Instead of starting something brand new, I’ve been going back to those pieces. Finishing them now feels incredibly satisfying. They’re no longer hanging over my head, and many of them are finally ready—or very close to it.
It’s a great reminder that progress doesn’t always mean starting fresh. Sometimes it means completing what’s already there.
3. I’m Letting Myself Play with Scrap Glass
Alongside finishing some of my pending work, I’ve also been giving myself permission to just play—especially with scrap glass.
Scraps feel low-stakes. There’s no pressure for the piece to become inventory or turn into something amazing. I can test color combinations, try ideas I didn’t have time for during show prep, and see what happens.
Some of my favorite discoveries over the years have come from pieces that started as nothing more than leftovers on my table.
4. I’m Revisiting Pieces That Were Almost There (But Needed a Rethink)
I also have a small stack of pieces that never quite felt right—not unfinished, just unresolved.
Lately, I’ve been pulling those out and asking:
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What if I fire this again?
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Would a clear cap on top help?
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Could this become something else entirely?
Revisiting older work feels less intimidating than starting from scratch, and it reminds me that glass is flexible. Just because something didn’t work the first time doesn’t mean it’s done.
5. I’m Making Pieces with No End Goal
Right now, I’m giving myself permission to make work that doesn’t need to be sold, shown, or shared.
No expectations. No deadlines. No pressure.
Just pieces made to explore color, texture, and process.
This has helped me remember that not everything I make needs a purpose beyond helping me reconnect with why I love fusing glass in the first place.
A Note If You’re Feeling Stuck Too
If your kiln has been sitting idle for a while, that doesn’t mean you’ve failed or fallen behind. Creative energy comes in waves—especially after intense seasons like shows.
Getting back on track doesn’t require a big plan or a burst of motivation.
Sometimes it just takes:
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Clearing one table
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Finishing one almost-done piece
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Firing one small project
That’s how I’m starting again—and that’s more than enough.