is happening in the pastiche of images,” she
says. “It’s almost like graffiti, where I’m working over something.”
Simpson lends a hand with his sandblasting skills. He uses different grades of sand, not
unlike the many tips for a calligraphy pen,
to meet the challenges of each piece. “We’re
making something beautiful and useful,” says
Simpson of the Renascent collection. “I think
this is some of the best work she’s ever done.”
As forward thinking as his wife, Simpson envisions the next evolution of Renascent as fusing together not just gold and ceramics, but
objects as well.
The pieces are unique, and — much to
Salusti’s delight — none can ever be replicated. She says the temporal nature of Renascent
keeps her creative edge sharpened. The glass
and ceramic plates, jugs, pitchers, and cups
are mysterious; some look like Byzantine jars,
others like Victorian artifacts.
In her shop, also called Fossilglass, in
Woodstock’s charming village, the three col-
lections fuse into one enchanted tablescape
that reflects her artistic journey: Fossilglass
dinner plates piled atop piattaSALUSTI chargers, and Renascent goblets fit for a Renaissance queen.
a shelf of fossilglass goblets, which feature
bases of varying hues, have pitted and pocked
surfaces that resemble the petrified remains of a
seashell. Salusti first achieved the effect by pressing
stone chips into clay. She then made a prototype
that she turned into a steel mold for manufacture.
Architecture + Design
For those with a passionate view.