Ronnie Phillips was born in Western Kentucky in July of 1989. Early influences of art came from his great grandmother, who began teaching him to draw (and color) during his early formative years. Concepts of perspective were taught to create realistic sketches of homes and landscapes, providing a strong foundation for the creative mind.

He continued his art education through high school, but did not understand the breath of possibilities until his experience at the Governor’s Scholars Program during the summer before his senior year. It was that summer, and through his mentorship from Siobhan Byrns, which would lead him to glass and a career in the arts.

Ronnie attended Centre College in Danville, Kentucky, where he studied Anthropology and Fine Art. Studying under world renowned glass artist, Stephen Rolfe Powell, he gained an excitement for the endless possibilities within glass. After graduation, he sought to refine his skill level within the craft and began working under Curt Brock at the Appalachian Center for Craft in Tennessee. It was through Curt that he gained endless knowledge for cold-working and precision glassblowing.

Ronnie has studied and mentored under numerous other leaders in the industry, been recognized in national award shows, and in 2015 relocated to Seattle, WA to further promote and develop his blown and sculptural glass work. His work can be found in galleries and designer show rooms across the United States, and continues to advance his design collection from his studio in the Pacific Northwest.

THE GLOBES

Without realizing it, the Globes have emerged through the development of a continuous idea for over 5 years now. The earliest renditions of them were always black and white, testing both sculptural and functional forms. The steadfast attribute has been the cane, which has become softer much like the wisp of a faint cloud or the soft glow of the milky way on a clear night. It’s far from an afterthought, but rather a quieter element that encourages you on a path around the sphere. It’s never a destination, but rather a journey, and the cane pays homage to such a consideration.

The gold is the newest element, and if I’m honest, was never part of the plan. Its original use was a desperate attempt to cover up a blemish on the glass. It worked, but also surprisingly elevated the piece and gave it a more finished look. Now I’m not suggesting every Globe has a hidden scar, but rather that through it all, there are riches all around. Some are apparent and on the surface of our lives, while others are hidden beneath. A few are to last, most are fleeting, but the potentially beautiful thing is that we become a piece of each experience we are to face.