He enjoyed participating in the unpredictable and lively gatherings of artists, which were so different from the corporate world of Corning. As a painter thoroughly educated in fine art traditions, Tom appreciated the energy and experimental thinking invested in glass by artists in the 1960’s and 70’s. His desire to stay informed about the development of the glass being produced by artists and designers led him to meet many of them. I was lucky to know Tom, and consider him to be a mentor.

As a visiting artist at Pilchuck in the 1980’s, Tom once worked with Billy Morris to create works based on characters from a Wagner opera. His classical acquaintance with the subject and experience with historic glass did not prevent him from an abstract, playful approach to his interpretation. It was immersion in the role of artist/designer and working with the team of glassblowers that charged him, and the perspective he brought to the team and to the school was simultaneously authoritative and deferential. His was clearly a voice of knowledge, and he had great admiration for the skillful work of the glassblowing team.

Tom was of the opinion that you can’t teach people ideas. He thought artists should be taught skills because too many art works are produced without a basis in skill. This attitude was the foundation for his teaching method yet he appreciated loosely created glass art, as he guided the acceptance of many contemporary works into the museum’s collection and publications. His embracement of our experimental and ambitious pursuits in glass was thorough and sincere, and it lasted for decades. His work as administrator and critic was important to the glass art movement, helping many artists to achieve credibility through recognition by the museum. Well aware of this effect, Tom enjoyed his part in the development of the movement and brought profound influence through his erudite perspective.