Klaus Moje talks with Paul Hollister about color in his work, purposely using a limited number of molds, and reworking a new piece in a 1982 interview at Pilchuck. Interview with Klaus Moje by Paul Hollister, July 28, 1982. (Rakow title: Klaus Moje interview [sound recording] / with Paul M. Hollister, BIB ID: 168474). Clip length: 04:51.

Time stamp: 00:00
Clip 1: Klaus Moje talks with Paul Hollister about color in his work. Clip length: 02:20.

Paul Hollister (PH): Is that aventurine?

Klaus Moje (KM): That is aventurine—

PH: Green aventurine.

KM: Green aventurine, yeah.

PH: Beautiful.

KM: Yeah.

PH: Does this—

KM: This opens new possibilities to me—I would cut these through and I cut it crosswise—

PH: Uh-huh.

KM: —and after I have—

PH: Slices and—

KM: Sli— [inaudible] I put that together again, fuse them again—

PH: Make a plaid—

KM: Yeah.

PH: in the other direction.

KM: Yeah, yeah.

PH: They’re—is this the same kind of colors—

KM: No.

PH: —or are you buying them from somebody else?

KM: No, this—no this is a glass that is made in America that is Bullseye Glass which is made in Portland and—

PH: Portland, Oregon?

KM: —Portland, Oregon, and they have a color range of about fifty glasses which should be compatible, and you can really get compatible colors there if you buy the tested glass, so you can—

PH: The ones that are proven.

KM: Yeah, yeah.

PH: They’re not as pretty as your colors though—

KM: They—

PH: —your colors are more beautiful.

KM: Yeah, see if you see the colors are not cullet then they look awful too.

PH: Yeah.

KM: So after—after cutting they will show up.

PH: Yeah they look better.

KM: That’s—that’s very important.

PH: But this color—the—your color sense is wonderful, this color, and that color is absolutely beautiful and that color, and this. That—that satin—I love that.

KM: And after—after I know more about the palette of colors I get from—I can get from Bullseye I think there are many possibilities two of which are not proved up till now.

PH: That’s terrific that one. That is so simple, it’s like sea through the porthole and a ship. The sea and the sky.

KM: Yeah.

PH: Beautiful.

Time stamp: 02:23
Clip 2: Klaus Moje discusses using a limited number of molds in his work. Clip length: 01:19.

Klaus Moje (KM): I tried to be very, very simple and work with about five or six molds. And, okay I sat on different flats, different [inaudible] whichever, which were smaller or broader, but mainly I worked with about five molds. This mold, this mold is the same than this mold. This was a—this was a temp I made last year which was suppose—

Paul Hollister (PH): That’s interesting, yeah.

KM: But which also didn’t satisfy.

PH: Yeah. But it would be nice to see that polished down or flattened down, ground.

KM: Yeah [inaudible] kind of polish, it was an overlay of clear glass. [PH coughs]  And in this case, I cut it down, small pieces of these colors instead [inaudible] in this way, the layers from this in that way and in this case in the vertical way.

PH: Yeah, yeah.

Time stamp: 03:45
Clip 3: Klaus Moje talks about reworking an unsuccessful piece. Clip length: 01:05.

Klaus Moje (KM): I’m—I’m not really happy with this piece here and—

Paul Hollister (PH): Oh, you mean the little patchy places?

KM: No, no I’m not—I’m not happy with the outer circle here. I have to review that. [inaudible]

PH: Could you—could you take a sheet that you’ve got made up and [inaudible] the different ways so that would go this way if I—the outline—the outline might be just like this might be the outline, but within that it would go a little bit this way and a little bit that way and then the lines go straight across or the pattern goes straight across—straight up and down, but you get a—

KM: —Yeah. If I went to remove the mold and then the lines will—will move with me.

PH: Yeah, a casual mold like that.

KM: —like his mold.

PH: Yeah, yeah. [William] Morris’s molds there where they’re not symmetrical or anything.