Michael Dupille


Seattle resident Michael Dupille has worked in art his entire career as both creator and educator.  Experienced in a variety of media including animation, illustration, print, and textile design, he continues to challenge himself through invention and innovation.

Michael was part of the glass blowing program at Central Washington University in the early 70’s.  Since the late 1980's he has worked extensively with glass, having developed and refined a technique for 'painting with glass' that uses crushed glass (frit) in combination kiln fired methods. He refers to this process as “fritography.”  Michael pioneered many kiln-forming processes, especially in the area of mold making and kiln casting.

He has done design work for Bullseye Glass, was a guest artist and instructor at Camp Colton, and his creative input is well featured in Boyce Lundstrom's books on art glass techniques. His work is highly collectible and his numerous public and private commissions include projects for the Washington and Oregon State Arts Commissions, The Everett Cultural Commission, The Seattle Times, The Pierce County Arts Commission, Amazon.com and the Seattle Mariners.

Artist’s Statement

The most important aspect in being an artist is to develop a personal statement based on content or process.  It is through the growth and discovery of process that much of my gratification in being an artist is derived.

My early professional background is that of a painter and illustrator.  With this in mind, I am attempting to produce in glass what I have been able to create in other media.  This methodology goes beyond just “painting with glass”.  It has become a desire to demonstrate the qualities of glass, and bring forth a work of art that has three-dimensional properties.  I have been developing this process over the last ten years.

The palette is created by crushing compatible colored sheet glass and separating by size the various particles for their appropriate designation.  These particles are referred to as “frit”.

In creating a “glass painting”, a layer of frit is designed on a kiln shelf and placed in the kiln for firing.  This layering process is repeated until the desired result is achieved, with some pieces fired as many as seven or eight times.  All “lines” used in the work are created with ”stringers,” or glass strands which have been heated into shape by use of a torch.

Aside from being a wonderful way to develop artistic statements, this process has tremendous potential in the areas of architecture elements and urban design.