Totemic Faculties
He makes it look easy. Turning, heating, drilling, and joining gooey hot glass in dazzling configurations of smooth geometric forms in high-voltage colors. Los Angeles based glass artist Cedric Mitchell is the crème de la crème with an impressive pedigree of residencies: Penland School of Craft, Pilchuck Glass School and Corning Museum of Glass. Studying at The Tulsa Glassblowing School (his hometown), he surfaced in LA to apprentice under artist Joe Cariati. Now, Mitchell mentors the next string of newcomers, notably at Alfred University and Haystack Mountain School of Crafts. Mitchell’s creative path didn’t start in a hot shop but a music studio. While rap had countless artists, Mitchell realized there were few Black glass artists. Only three rose to mind – Thermon Statom, Deborah Moore, and Ché Rhodes - so the field was open. He exchanged rhythms and patterns in raps for new ones in glass. He splits and combines forms, creating complex pieces fused in rhythmic shapes. The result? An inspired totem that figures in Mitchell’s big loves: Ettore Sottsass’ Memphis Group aesthetics, Bauhaus principles, Graffiti, and Streetwear. What spins him? The intangible tangible and diversifying the Arts.
Like many of us in L.A., your story started elsewhere. What was it like growing up in Tulsa, OK? Looking back, can you trace your creative interests during this time?
Growing up in Tulsa was great, and most likely different from what people perceive when they hear “Oklahoma.” I grew up in a small city that was heavily influenced by the West Coast in the late 80’s and 90’s, especially with low riders and gang culture. My creative interests started in 2007, when I wanted to be a rapper. I became a local rapper and performed for nearly 10 years.
What name did you perform under when you were rapping in Tulsa?
My old rap name from 11 years ago was “Nuff Ced.”
We understand you discovered the art of glass blowing while recording music in Tulsa. What’sthe story there and what piqued your interest?
I was recording in a friend Steve’s studio and we were taking a break, in which he started smoking out of his bong which his cousin made in Miami. (When I showed interest) he informed me that I could take glass blowing classes in downtown Tulsa. So we looked up classes and discovered that I could enroll through the local community college.
What have you been listening to lately?
In the realm of music, it varies by the time of day and mood, but usually in the mornings I listen to old soul and during the day I try to find playlists that motivate me to hustle....glass!
Working with your mentor Joe Cariati, who is also LA-based, how has his practice shaped your work? On the other hand, you now teach glass art classes. What’s it like being a mentor now?
Working with Joe has improved my efficiency in blowing glass. Bringing out my fluidity in movement and design style. I love to teach and share the things I have learned along the way. I feel like that is the reason the path has chosen me.
Why did you select glass as a creative material? It’s fragile, and a physically demanding process that requires precise movements and managing temperatures. What connects you to both the material and the process?
In a sense it selected me, it was primarily for the difficulty of the medium and the amount of discipline it takes to learn. Also, at the time there were only 3 famous Black glass artists at the time. So I wanted to provide reference points for others.
During a previous studio visit with the American Craft Council, Mitchell also shared, “From the first time I walked into the studio, I was mesmerized. Having that tense feeling while you’re working with the material the whole time until it’s complete. And then you take it out of the oven the next day and it’s like Christmas.”
“In a sense it selected me, it was primarily for the difficulty of the medium and the amount of discipline it takes to learn.”
Ettorre introduced chemical gluing techniques—do you use the same methods or do you stick to the Murano glass tradition of joint heating? Any other modern techniques you have been exploring while you shape your pieces?
I use both traditional hot connections in the studio and cold construction with two part epoxy. Outside of that, I love utilizing the traditional “Incalmo” technique to join parts together.
Shape, color, opacity, line, contrast - all the elements and principles of design are in glass art. What’s your approach to a piece? Are you mainly focusing on these design elements, or are their stories, memories, music, or other themes that drive your decisions?
All of these things influence the way I approach a piece! I like to start with a general idea and make something to look at, this way I can expand on the idea more.
(In his NIKE AIR icon spot, he describes his approach “The first time I ever blew glass or touched the material, it was the strangest thing ever. You’re feeling so many different emotions like a roller coaster where you’re super excited to be scared. We’re in the studio, we got music playing…it’s kind of like a rhythmic dance. I’m listening to that beat and I’m in the zone and I’m really focusing on making each move deliberate.”)
You are a NIKE AIR icon. What was it like creating a large glass swoosh and collaborating with them? What is your biggest JUST DO IT philosophy or moment?
When Nike reached out to feature me in the Air Max Dawn campaign I was super excited. It was like a dream come true, I messaged them a few times on Instagram about collaborations and never got a response. So to have an opportunity to work with them was amazing. Creating the Nike swoosh was a challenge, I quickly said yes and didn’t know how to approach it. Then I quickly figured it out and nailed it. My whole life is “Just Do It”, stop thinking about it so much and just do it and see what happens.
Let’s chat about inspiration. You’ve been vocal about your influences: the Memphis Group movement, Graffiti, and Modernism. In the voluminous book of glass art history, what other artists or movements have inspired you? Alternatively, what do you see in LA that has inspired your work recently?
Bauhaus has influenced my work along with pop art. In LA the inspiration is endless! From clothing store aesthetics to everyday people’s fashion sense.
Can you tell us about that? What’s the best way for collectors to find your work?
I’ve been working with Heath for 3 yrs now. Creating for their Summer and Winter Collections. So recently they offered me the opportunity to have a show with them in collaboration. It was amazing, I finally got to stretch myself as an artist and utilize artist residencies to grow my skills and create the show. Everything is on my website www.cedricmitchelldesign.com
You recently completed the “Hustle Glass” Tour this year. What did that experience mean to you?
Each year I have a series of scheduled events during the Summer that consist of artist residencies and teaching opportunities. I decided this year to name it, maybe next year I will have merch to go along with it. I’m always grateful for the opportunities provided for me to grow as an artist and instructor. I’m blessed to have the chance to do what I love and have it take me places.
Recently, what books or exhibitions have inspired you?
“The Practice” by Seth Godin is my recent inspiration.
Any upcoming events, collections or exhibitions?
At the moment, I have been developing my lighting collection which will release at the beginning of 2024.
What’s your creative experience been like practicing glass art in LA specifically? Would you say you have a glass community and a design community or are they one in the same?
I love LA for the community and the connections, but it’s also pretty expensive to create here in LA. The glass community here is tight-knit and we are all like family. As for the design community, I’m slowly easing into the scene and making myself known.
For creators, growth is an accelerator in any practice. How has living and creating in Los Angeles grown your practice?
LA is the city of hustle, so most of my creative moments have come about at my lowest points in LA. and learning to make something out of nothing and using that momentum to my advantage.
Totemic Faculties
He makes it look easy. Turning, heating, drilling, and joining gooey hot glass in dazzling configurations of smooth geometric forms in high-voltage colors. Los Angeles based glass artist Cedric Mitchell is the crème de la crème with an impressive pedigree of residencies: Penland School of Craft, Pilchuck Glass School and Corning Museum of Glass. Studying at The Tulsa Glassblowing School (his hometown), he surfaced in LA to apprentice under artist Joe Cariati. Now, Mitchell mentors the next string of newcomers, notably at Alfred University and Haystack Mountain School of Crafts. Mitchell’s creative path didn’t start in a hot shop but a music studio. While rap had countless artists, Mitchell realized there were few Black glass artists. Only three rose to mind – Thermon Statom, Deborah Moore, and Ché Rhodes - so the field was open. He exchanged rhythms and patterns in raps for new ones in glass. He splits and combines forms, creating complex pieces fused in rhythmic shapes. The result? An inspired totem that figures in Mitchell’s big loves: Ettore Sottsass’ Memphis Group aesthetics, Bauhaus principles, Graffiti, and Streetwear. What spins him? The intangible tangible and diversifying the Arts.
Like many of us in L.A., your story started elsewhere. What was it like growing up in Tulsa, OK? Looking back, can you trace your creative interests during this time?
Growing up in Tulsa was great, and most likely different from what people perceive when they hear “Oklahoma.” I grew up in a small city that was heavily influenced by the West Coast in the late 80’s and 90’s, especially with low riders and gang culture. My creative interests started in 2007, when I wanted to be a rapper. I became a local rapper and performed for nearly 10 years.
What name did you perform under when you were rapping in Tulsa?
My old rap name from 11 years ago was “Nuff Ced.”
We understand you discovered the art of glass blowing while recording music in Tulsa. What’sthe story there and what piqued your interest?
I was recording in a friend Steve’s studio and we were taking a break, in which he started smoking out of his bong which his cousin made in Miami. (When I showed interest) he informed me that I could take glass blowing classes in downtown Tulsa. So we looked up classes and discovered that I could enroll through the local community college.
What have you been listening to lately?
In the realm of music, it varies by the time of day and mood, but usually in the mornings I listen to old soul and during the day I try to find playlists that motivate me to hustle....glass!
Working with your mentor Joe Cariati, who is also LA-based, how has his practice shaped your work? On the other hand, you now teach glass art classes. What’s it like being a mentor now?
Working with Joe has improved my efficiency in blowing glass. Bringing out my fluidity in movement and design style. I love to teach and share the things I have learned along the way. I feel like that is the reason the path has chosen me.
Why did you select glass as a creative material? It’s fragile, and a physically demanding process that requires precise movements and managing temperatures. What connects you to both the material and the process?
In a sense it selected me, it was primarily for the difficulty of the medium and the amount of discipline it takes to learn. Also, at the time there were only 3 famous Black glass artists at the time. So I wanted to provide reference points for others.
During a previous studio visit with the American Craft Council, Mitchell also shared, “From the first time I walked into the studio, I was mesmerized. Having that tense feeling while you’re working with the material the whole time until it’s complete. And then you take it out of the oven the next day and it’s like Christmas.”
“In a sense it selected me, it was primarily for the difficulty of the medium and the amount of discipline it takes to learn.”
Ettorre introduced chemical gluing techniques—do you use the same methods or do you stick to the Murano glass tradition of joint heating? Any other modern techniques you have been exploring while you shape your pieces?
I use both traditional hot connections in the studio and cold construction with two part epoxy. Outside of that, I love utilizing the traditional “Incalmo” technique to join parts together.
Shape, color, opacity, line, contrast - all the elements and principles of design are in glass art. What’s your approach to a piece? Are you mainly focusing on these design elements, or are their stories, memories, music, or other themes that drive your decisions?
All of these things influence the way I approach a piece! I like to start with a general idea and make something to look at, this way I can expand on the idea more.
(In his NIKE AIR icon spot, he describes his approach “The first time I ever blew glass or touched the material, it was the strangest thing ever. You’re feeling so many different emotions like a roller coaster where you’re super excited to be scared. We’re in the studio, we got music playing…it’s kind of like a rhythmic dance. I’m listening to that beat and I’m in the zone and I’m really focusing on making each move deliberate.”)
You are a NIKE AIR icon. What was it like creating a large glass swoosh and collaborating with them? What is your biggest JUST DO IT philosophy or moment?
When Nike reached out to feature me in the Air Max Dawn campaign I was super excited. It was like a dream come true, I messaged them a few times on Instagram about collaborations and never got a response. So to have an opportunity to work with them was amazing. Creating the Nike swoosh was a challenge, I quickly said yes and didn’t know how to approach it. Then I quickly figured it out and nailed it. My whole life is “Just Do It”, stop thinking about it so much and just do it and see what happens.
Let’s chat about inspiration. You’ve been vocal about your influences: the Memphis Group movement, Graffiti, and Modernism. In the voluminous book of glass art history, what other artists or movements have inspired you? Alternatively, what do you see in LA that has inspired your work recently?
Bauhaus has influenced my work along with pop art. In LA the inspiration is endless! From clothing store aesthetics to everyday people’s fashion sense.
Can you tell us about that? What’s the best way for collectors to find your work?
I’ve been working with Heath for 3 yrs now. Creating for their Summer and Winter Collections. So recently they offered me the opportunity to have a show with them in collaboration. It was amazing, I finally got to stretch myself as an artist and utilize artist residencies to grow my skills and create the show. Everything is on my website www.cedricmitchelldesign.com
You recently completed the “Hustle Glass” Tour this year. What did that experience mean to you?
Each year I have a series of scheduled events during the Summer that consist of artist residencies and teaching opportunities. I decided this year to name it, maybe next year I will have merch to go along with it. I’m always grateful for the opportunities provided for me to grow as an artist and instructor. I’m blessed to have the chance to do what I love and have it take me places.
Recently, what books or exhibitions have inspired you?
“The Practice” by Seth Godin is my recent inspiration.
Any upcoming events, collections or exhibitions?
At the moment, I have been developing my lighting collection which will release at the beginning of 2024.
What’s your creative experience been like practicing glass art in LA specifically? Would you say you have a glass community and a design community or are they one in the same?
I love LA for the community and the connections, but it’s also pretty expensive to create here in LA. The glass community here is tight-knit and we are all like family. As for the design community, I’m slowly easing into the scene and making myself known.
For creators, growth is an accelerator in any practice. How has living and creating in Los Angeles grown your practice?
LA is the city of hustle, so most of my creative moments have come about at my lowest points in LA. and learning to make something out of nothing and using that momentum to my advantage.
ALL CULTURE IS A CONVERSATION LOS ANGELES, CALIFORNIA © MR. WREN 2025
ALL CULTURE IS A CONVERSATION – LOS ANGELES, CALIFORNIA
© MR. WREN 2025