He has been a guest artist at the Museum of Glass in Tacoma and exhibited his work at galleries across the northwest. As a journeyman, he has worked for premiere glass studios and artists including, Boyd Sugiki, Lino Tagliapietra, Chilhuly Gardens and Glass Mobile Hotshop, Manifesto Studios and many more.Manuel creates sculptural and functional blown glass objects, custom design and installation and art for collectors. Castro is a teaching artist and teaches advanced glassblowing at Pratt Fine Arts Center, Seattle Glassblowing and Schack Art Center in Everett. Manuel has recently built a glass hotshop studio at his house which has enabled him to polish and develop his more conceptual work.

Her work has also been influenced by the burnished pottery of Siddig El’nigoumi, Feller’s former teacher in England, and the country potters of India, where she lived for two years prior to moving to Salt Spring.

Smoke firing is both primitive in approach and sophisticated in design. Smoke resist techniques combined with burnishing and hand decorating impart unique characteristics to every piece. The smoky atmosphere, in which the clay absorbs the carbon in patterns that wrap the surface of the pot, produces a harmony between design and form.

Feller’s work is found in collections around the world.

Textures are a key part of our everyday visual landscape and through them we interpret how objects were formed, or how they evolved. Although textures may have common forms, their origin and evolution might be very different. For example, mud cracks in rocks and the wrinkled skin of the elderly look the same but are formed by entirely different processes. So by recognizing and interpreting textures we can understand and appreciate the stories of how objects and people evolve.

Stories have different interpretations depending on the timing and vantage points of our observations. I have tried to capture this sense of reference by presenting varying degrees of detail in my glass, from veining and blends of colours, to the use of delicate visual components. Thus, my pieces reveal one set of details when viewed from a distance and another set of details that are apparent only when viewed up close.”

A geologist by profession, Bob has been working in kiln-formed glass since 1988. He has taught in private studios across Canada, the US, and Europe; has been a Guest Artist at the Alberta College of Art and Design; presented at the Glass Art Association of Canada conferences; participated in the Teacher’s Forum sponsored by Bullseye; has been published in many prestigious Art magazines; and participated in over two dozen shows that span 23 years.

Bob has been recognized across Canada and the United States, most recently as a Professional Artist in Residence at the Pilchuck Glass School in Stanwood, Washington.

Bob is affiliated with the Glass Art Association of Canada (Director 2001-2006); the British Columbia Glass Art Association; the Calgary Warm Glass Guild and is a Director of the Salt Spring Arts Council.

Bob now resides on Salt Spring Island, BC.