n the many years of showing my work, first to friends and then to the general public, it has become obvious that when first introduced to the art of vitreous enameling, people presume it is a form of "Painted Craft" and they require an explanation of the basic process of "fusing glass to metal." This is followed by a more detailed explanation of the process, which carries the art of enameling from the status of a novelty, to recognition as a FINE ART which has utilitarian value. Enameling is the ancient art of fusing glass to metal. It dates back to the 6th century B.C. Today, more than at any time in the past, the design areas of enameling are expanding, and an artist is less confined to the "traditional" avenues of enameling. Contemporary enameling techniques have more freedom and provide the artist with a wealth of opportunities to express themselves individually. Initially, I felt that I had experienced an inability to speak fluently regarding my enamels and enameling in general. However, I am now developing the ability to speak, through my work. With this ability to express myself, has come the realization that enameling is an eternal learning process, and the true excitement lies in the need to learn as I proceed, and to grasp the information available now. I feel the need to individualize my technique as well as my design. But I realize that my ability to do so now is based on my confidence, which has developed during the more than 50 years of enameling. And, that this confidence is based on a quite thorough understanding of my tools, their use, and the myriad of reactions of the various glasses under various conditions. At this point, while I am striving for quality of design as well as clarity and brilliance of the enamels, I am constantly reminded of the immensity of the knowledge still available. Enameling, as with many art forms, requires specific attention to detail, as well as overall effect, which makes simplicity almost a prerequisite. Yet, traditionally, the challenge lies in the introduction of intricacies to a piece of work while maintaining the effect of simplicity. In light of the prospects for enameling in the future, I look forward to the excitement of new combinations of enamels with various media. I am working more and more today, with three-dimensional pieces, and using more varied sources of heat, such as torches, etc . . . I find myself, if not torn, constantly urged to expand and experiment with each of these outlets.