[00:00:00] Luke Storey: So tell me what it's like to be an artist with only one functional eye

[00:00:11] Jack Storms: Well, um, it, I've got, I've acclimated to it now. The accident that cost me my eye was about a eight or nine years ago. Uh, when it happened, it was rough. Uh, in the first year, I had to re-acclimate how to engage with a g- glass as I, as I worked it.

[00:00:32] Jack Storms: And, uh, had, uh, several mishaps and got a little, uh, you know, I had to push past through the discouragement. But one of the best ways to push past through the discouragement is to burn every bridge behind you, give yourself no choice. There's only forward. There's only the next step, and that's really what I was left with.

[00:00:50] Jack Storms: This is what I was... At that point, this is what I was doing for, you know, 18 years. And, you know, they pay pretty well at the In-N-Out as a manager, but I just can't see myself [00:01:00] doing that, uh, you know, to keep the electricity on and to, uh, live a life. So, uh, there was no other option for me, so I just kept on plowing forward.

[00:01:09] Jack Storms: So what I had to do was retune myself. So y- uh, you played Little League baseball?

[00:01:16] Luke Storey: Uh, for a bit. I was on the Cleveland Brewers.

[00:01:18] Jack Storms: There you go. They teach you how to do the fundamentals, right? And the fundamentals have to be sound, and that's how they build a good player. But the players that are in the, um, uh, in the Major Leagues, they don't use those fundamentals because they're so ingrained, so they'll hot dog and it'll be fine, and they'll, uh, you know, do things that they just do not teach at the, at the beginning levels.

[00:01:42] Jack Storms: I brought myself back to the beginning levels, and I stayed there until I built a new foundation with what I could actually, uh, with what I had for now physical tools.

[00:01:52] Luke Storey: Wow. Was the accident art creation related?

[00:01:56] Jack Storms: Yeah.

[00:01:57] Luke Storey: Yeah,

[00:01:57] Jack Storms: yeah. I was working on a piece similar to this, [00:02:00] and, um, I was... If I saw anyone do what I was doing and what I had been doing for, you know, 18 years because I picked up the skill really quick.

[00:02:10] Jack Storms: It's something that I... First time I picked up a glass, this is, I knew I was gonna do this for the rest of my life. Uh, so I was doing some stuff that you'd probably call hot dog polishing, you know, just n- not... Don't do it. And, um-

[00:02:25] Luke Storey: You weren't sticking to the safety protocol.

[00:02:26] Jack Storms: I was not sticking to the safety protocols.

[00:02:29] Jack Storms: And the piece, um, if you've, if you've, uh, surfed or skateboarded, uh, you know about catching an edge.

[00:02:35] Luke Storey: Mm-hmm.

[00:02:35] Jack Storms: So I caught an edge on the piece, and the piece was ripped out of my hands on the wheel that I was grinding on. Uh, rewind 30 seconds. I, I'm working on a huge grinding wheel that's going very, very, very fast.

[00:02:49] Jack Storms: So, uh, here I am, like, just catching a bevel, like one of the little corners there. And, um, when it caught the edge, the piece shoots into the wall, [00:03:00] and it was so fast, it just sounded like a, it sounded like a gunshot how f- how hard it hit the wall. And when it came back It hit the oncoming part of the wheel.

[00:03:13] Jack Storms: Holy sh- And the last thing I saw was it make contact with the wheel, and then it was just right there, right in my face. And one of my guys was like, "Wow, you've got cat-like reflexes, Jack. You caught that piece." And I was like, "Well, when you get smashed in the face, the first thing you do is put your hands up over your face," and lo and behold, there was a piece there.

[00:03:35] Jack Storms: So that's how I caught the piece. The only way I survived was I, uh, uh, is that the piece did not break, because if it was shattered or if it was- Hmm ... broken or it had a jagged edge, it would've cleaved, cleaved me, 'cause it knocked me back four or five steps. Uh, and it w- it was hard. It was-

[00:03:55] Luke Storey: So the injury was a blunt trauma to the eye?

[00:03:59] Jack Storms: Well- '[00:04:00]

[00:04:00] Luke Storey: Cause your eye, like looking at you- No ... y- y- Yeah ... like I can't see anything different about either eye. Yeah.

[00:04:05] Jack Storms: Took my nose and it put it up near one of my eyeballs, um, and it knocked out my front teeth.

[00:04:10] Luke Storey: Oh, shit.

[00:04:11] Jack Storms: And fractured, you know, some of the, you know, the front part of the skull that's right there.

[00:04:16] Jack Storms: So I went in for a septoplasty, and when I went in for a septoplasty, that's when I threw a clot on the operating table, and I woke up, and they said, "How do you feel?" Well, I said, "I feel good, but I, you know, I, I can't see out of this eye." Oh. And they thought it was Vaseline, so they sent me home. And later on that night, I called up the doctor.

[00:04:38] Jack Storms: I said, "When does my sight come back in my eye?" He said, "Uh, get yourself to the ER right now Okay, I'll just go in the morning. It's fine. It's like, you know, I was thinking it was gonna come back. I was joking around about it, right? So, um, went to the ER, found out it was a clot. Uh, found out that it, uh, um, it had clotted up the, the sacs.[00:05:00]

[00:05:00] Jack Storms: Uh, you- you've got two sets of, uh, bladders that feed the lubrication to your eye. One is tears, and one is natural oils that keep your eye lubricated. It had, uh, clogged up, uh, the lubrication part of the bladder. So n- now I can't, unless I, uh, unless I tear up or blink a lot, I can't really, uh, it, it starts to irritate my eyes.

[00:05:21] Jack Storms: But all that happened, uh, from the surgery, and then after that, it was just like a learning process of how to- Wow ... live life.

[00:05:27] Luke Storey: Damn.

[00:05:27] Jack Storms: Yeah.

[00:05:28] Luke Storey: Damn. That's hardcore.

[00:05:29] Jack Storms: Yeah, so it was a two-parter. It was a one-two punch, you know? First- Well- First the piece, then the-

[00:05:33] Luke Storey: I

[00:05:34] Jack Storms: was- ...

[00:05:34] Luke Storey: the eye ... I was watching, um, some of your videos in your workshop, you know, working with some of this machinery.

[00:05:40] Luke Storey: I mean, especially when you have the glass on one of the big saw blades. I don't know if they're called a lathe or what the... When you're, like, facing these giant blades that are, like, as tall as your torso, um, just, and you have no gloves on or anything, I'm just like, dude, I can barely watch it. It looks so sketchy.

[00:05:57] Luke Storey: I mean, obviously you've been doing this for a long time. It [00:06:00] sounds like you only had the one major mistake, but it's like how much of the process of your creation is that the risk involved f- must for- I'm thinking it must force you to be fiercely present, right?

[00:06:16] Jack Storms: Yes.

[00:06:16] Luke Storey: There's no, like, wandering mind shit- No

[00:06:18] Luke Storey: going on. Like- Yeah, you're

[00:06:19] Jack Storms: not thinking about what you're having for lunch.

[00:06:20] Luke Storey: Yeah. Based on, like, watching you work, I'm like, oh my God. Like, you gotta, like, be so in your body and so present moment aware, not only to create the art, but to do it without getting hurt.

[00:06:33] Jack Storms: Yeah, and that's what's always kind of balanced me out, I feel, because, uh, even, I graduated late from college.

[00:06:39] Jack Storms: I was an older college student. I was 30 years old, uh, when I graduated from, uh, Plymouth State College up in, uh, New Hampshire. They had a great art program, and I was a little bit older than the other students, so I really didn't care about my grades. I wanted the, I wanted the information, and I wanted the understanding, and I wanted the skill set, and I wanted to, you know, pick up, uh, you know, I wanted to learn how to be an [00:07:00] artist.

[00:07:00] Jack Storms: I-

[00:07:00] Luke Storey: Just the level of presence required-

[00:07:02] Jack Storms: Yes,

[00:07:02] Luke Storey: yes. Thank you ... you know? I mean, it takes presence to create any kind of art, right? Because you're- Oh, absolutely. Yeah ... you're kind of, you're tuning into the muse, right? You're, you're tuning into something that's kind of in the ether. Yeah.

[00:07:11] Jack Storms: You're

[00:07:11] Luke Storey: riding- At least that's

[00:07:11] Jack Storms: why I feel- I call it riding the beast.

[00:07:13] Luke Storey: Yeah.

[00:07:13] Jack Storms: Um, and, uh, so I've always been a little, uh, uh, you know, I, I guess, uh, I don't wanna say ADD because everybody kinda like a- abuses that kind of if you're just, if you're antsy It's

[00:07:25] Luke Storey: kinda like the term narcissist, you know? People just throw that around. I don't-

[00:07:28] Jack Storms: Sure ...

[00:07:29] Luke Storey: I don't think they really know what it means.

[00:07:30] Jack Storms: Yeah. Uh-

[00:07:32] Luke Storey: Or at least not the, the degrees of narcissism, right?

[00:07:36] Jack Storms: Yeah. Well, so I don't use the word because I'm, I'm in that camp. I don't know what it really means. I just, you know, I got nice people and not nice people, and-

[00:07:43] Luke Storey: Yeah ...

[00:07:43] Jack Storms: there's probably narcissists hiding in both.

[00:07:46] Luke Storey: So if you're someone who struggles with attention, then the art has been a teacher for you in terms of focus and presence.

[00:07:54] Jack Storms: If you wanna be good, yeah.

[00:07:56] Luke Storey: Yeah.

[00:07:56] Jack Storms: If you, if you have a desire to be good and you enjoy what you're doing, [00:08:00] then yeah, it pulls you into what you're doing. And there's something about the mind-body connection, uh, of, of seeing something in your head and then transmitting it to your hand, uh, working it through the medium to get what you have in your head.

[00:08:13] Jack Storms: That, to me, is, uh, kind of a... It's almost like a, a spiritual kind of journey. Like, uh, I, I've-- me personally, I feel like it makes me whole. I, I don't think I could sit in a office and just work numbers all day. Me personally. I mean, I... Look, everyone needs someone like that on their team for sure. Sure, sure.

[00:08:33] Jack Storms: But it's not gonna be me, right? So I'm gonna be the guy that's out there just making the most beautiful artwork that I can with the, the skill set that I've developed.

[00:08:42] Luke Storey: So when we cut the Instagram Reels for this and the YouTube video, we're gonna put some images of your art. Some of you right now will be watching this on YouTube, and some will be listening.

[00:08:53] Luke Storey: For people that are only listening, uh, 'cause that's the majority of people that take in this podcast, [00:09:00] explain your art and, and also your art in contrast to what other people might know as art created from glass, like blown glass and these kind of things. Sure. 'Cause I never, I've- Maybe ... I've never, like, been drawn to glass art- Mm-hmm

[00:09:15] Luke Storey: until I saw yours. I don't know why. Just curvy, weird, '80s-looking stuff. Yeah,

[00:09:20] Jack Storms: no. It,

[00:09:21] Luke Storey: it- It's never... I mean, other people dig it. It's just I've never seen, like, a piece of glass, uh, you know, that has been used to create art that I've felt compelled toward until I saw your stuff, and

[00:09:32] Jack Storms: I'm just like- Oh, thank you very much

[00:09:33] Jack Storms: "This is-" And I think that has to do with a lot of the physical traits, uh, clarity, uh, precision Uh, these are all traits that, that carry forward, and I've got additional traits that I put into the work too that I pulled out from, uh, Professor Terry Downs. I, I still think of him all the time, who was, uh, one of my instructors at, uh, Plymouth State College.

[00:09:54] Jack Storms: And, um, you know, he taught me the Fibonacci ratio about how these pieces go in, [00:10:00] and I use those pieces because I've got a challenge here The challenge is there's very few straight lines in nature. My work is all straight lines, and it's clarity, so you see through the work. You see through the other side of the work.

[00:10:16] Jack Storms: It reflects, it refracts, it casts colored shadow. It has all these visual elements, and it has that Fibonacci ratio in there that is everywhere in nature, and that's what I, uh, s- uh, strategized that would be the connecting between a person that lives a life in a Fibonacci world. No matter how we try to separate it, we're always around some kind of nature.

[00:10:41] Jack Storms: Mult- well, most of us are, right? And-

[00:10:44] Luke Storey: I mean, even our bodies-

[00:10:45] Jack Storms: Absolutely ... you know? Yeah. Absolutely. And, uh, and everything that's, everything that's well-designed has a tie to Fibonacci, so you really do see it everywhere, even in what we create. So what I did is I started to incorporate that Fibonacci sequence and [00:11:00] that Fibonacci ratio, w- and it's also known as the golden ratio as well.

[00:11:03] Jack Storms: So it's been around for a long time. Fibonacci's the guy that rediscovered it. I'm holding up quotes to say rediscovered. Uh, rediscovered it for the Renaissance p- uh, guys. The Renaissance guys picked it up, and they started to run with it, and that's what made the Renaissance. The Renaissance was perspective.

[00:11:17] Jack Storms: The Reva- the Renaissance was putting these ratios into the artwork to show that they were tied to the Creator, and that's why the church was the biggest sponsor of this stuff because they're like, "Hey, we're, we're in the, the Creator game," right?

[00:11:31] Luke Storey: Yeah,

[00:11:31] Jack Storms: yeah. So, uh, this is how we show it. It's like

[00:11:32] Luke Storey: a signature.

[00:11:33] Luke Storey: It's like-

[00:11:34] Jack Storms: It is a signature ... like God's signature I think it's a signature Yeah ... uh, of the, of the grand designer, right?

[00:11:39] Luke Storey: So- I find that interes- interesting, just the, the fractal nature of all matter on Earth, right? It's like e- everything is kind of repeatable. Yeah. You know, you cut a tree in half, and those circles are just like something else.

[00:11:55] Luke Storey: It's like everything is just a micro version of some macro [00:12:00] version of something else.

[00:12:01] Jack Storms: Oh, exactly. So you can take this, you can take the golden ratio and the, the Fibonacci ratio, and you can apply that to... You can see how DNA is constructed, or see how DNA is illustrated, right? And then you look at galaxies that are just formula- they're just coming out of the nebula stage where it's a cloud, right?

[00:12:19] Jack Storms: And they're just starting to form that spiral, and that spiral, every single time, without deviation, is the, the golden ratio Fibonacci spiral. So it's the same, uh, but we were macro scale, micro scale. And I think that if we're seeing that everywhere in the material world, it, it probably has applications into the things that we can't see.

[00:12:42] Jack Storms: As well. Uh, th- and that's just my theory, just working with it. And I've had some intimate reactions, you know, working with, uh, you know, something that, that carries that sequence that's pulled right from nature, that was intended to be pulled from nature. Because I don't know if I'm gonna hit [00:13:00] every single piece exactly because, you know, it's, it's a mathematical formula.

[00:13:05] Jack Storms: But I'm-- but, you know, if I'm not on it, I'm so close because, you know, I, I work on a piece of glass until it's the most beautiful piece that I've made, and I won't stop until I do, and that kind of, you know, makes my production numbers as a value fairly low. Uh, so you're not gonna see me in, you know, uh, 80 galleries and you're not gonna see me, you know, all over the world and, you know...

[00:13:29] Jack Storms: It's just not gonna happen because I, I'm just not gonna make that much ever

[00:13:35] Luke Storey: With this piece right here, uh, again, for those watching, watching on the video, uh, for those that are watching the video at least on a frame that has the wide screen from that camera, this piece is, I don't know, what? Like eight inches?

[00:13:50] Jack Storms: It's six inches square.

[00:13:52] Luke Storey: Okay.

[00:13:52] Jack Storms: So that means it'll sit probably about 10 inches tall.

[00:13:55] Luke Storey: How long would it take you if you were moving quickly to [00:14:00] create this?

[00:14:01] Jack Storms: If it was the only piece that I was doing and I had an open studio, nothing in the way, I'd say about, uh, six, seven weeks.

[00:14:08] Luke Storey: Holy shit.

[00:14:09] Jack Storms: Yeah, because everything that holds it together needs to cure, and it needs to cure for seven days.

[00:14:13] Luke Storey: Right.

[00:14:13] Jack Storms: To be... That's, that's why when you hit it with a saw and you start, uh, cutting across all those seams that are set there with the epoxy that holds it all together, that's water clear. You know, it'll never decompose. It's actually stronger, stronger structurally than the glass itself, so it works like rebar in concrete.

[00:14:30] Luke Storey: That's the thing that trips me out is you can't see any seams. Like, what what is this clear epoxy? 'Cause I'm looking at your s- website and I'm like, "How is he getting the, you know, these shapes and colors inside the bigger piece of glass?" Yet when you look through it, like I'm looking through it right now at your coffee cup, there's...

[00:14:50] Luke Storey: I see no seams.

[00:14:52] Jack Storms: Oh, that's because the- It's,

[00:14:53] Luke Storey: it's like magic, man.

[00:14:54] Jack Storms: That, that's because the material that I use to hold it together has the same refractive index as [00:15:00] the exterior glass but not the interior glass. Because you can see all the cuts that are on the middle, right?

[00:15:04] Luke Storey: Yeah.

[00:15:05] Jack Storms: Because that has a different refractive index, so when light hits it, it visually cues that it's going through something that is a different refractive index by, by what we can see, right?

[00:15:16] Jack Storms: But when we go through something that has the same refractive index, you could stack those a, a thousand times over and over again- Wow ... and when you look through, it's gonna be atmospheric. You're gonna just... Like it's just regular atmosphere, right? S- so you can see clearly on the other end absolutely, uh, no issue whatsoever, no seams, no nothing, because it all...

[00:15:35] Jack Storms: Light travels through it harmoniously. There's no, there's no ju- there's no stop.

[00:15:40] Luke Storey: Where do you think your creative ideas come from? I mean, it's, it's one thing to sit with a- Yeah ... a blank white canvas, right, and-

[00:15:49] Jack Storms: Yeah ...

[00:15:49] Luke Storey: go, "Oh, I, I'd love to see a dolphin," you know, or whatever. Well- "Let me paint some trees," or, you know, whatever you're painting, or a portrait or something like that.

[00:15:57] Luke Storey: But it's like- We're,

[00:15:57] Jack Storms: we're the same age. Did you ever collect comic books? [00:16:00]

[00:16:00] Luke Storey: Um, not really.

[00:16:02] Jack Storms: Did you know people that... Did you beat up kids that collected

[00:16:04] Luke Storey: comic books? No, but I did collect heavy metal records.

[00:16:07] Jack Storms: Okay,

[00:16:07] Luke Storey: there you go. That was, that was my obsession when I was a kid.

[00:16:08] Jack Storms: There you go. I was in the comic book, uh, collector group of kids, right?

[00:16:13] Jack Storms: So, uh, um, Stan Lee was a major influence on my imagination, and, uh, um, and, and that's basically where I started. Just... And I was always, uh, I was always good at drawing the form, drawing the heroes, drawing the women, uh, drawing the action scenes. I loved to... That's where I started picking it all up. I first, when I was younger, I started tracing, and then I figured out I was ruining my comic books, and I liked to read them, so I wanted to keep them better in shape, so I just had to get better at drawing.

[00:16:42] Jack Storms: So I started practicing what I was seeing, just mimicking. And then I just started, you know, going off on my own and, and drawing things that were independent and, uh, uh- I think I could have been good if I pushed it, uh, but I, I always enjoyed it. But I was really drawn to, wow, I love the way those [00:17:00] alien cityscapes, like in Captain Marvel- Oh, yeah, yeah

[00:17:03] Jack Storms: when the Avengers would go to space or Fantastic Four would

[00:17:05] Luke Storey: go to space. Like crystalline cities and stuff like that. Yeah.

[00:17:07] Jack Storms: Yeah. Yeah, yeah. Absolutely. And so

[00:17:09] Luke Storey: that's what kind of- May- maybe you were an Atlantean or something

[00:17:12] Jack Storms: in your past. Could be. Could be. Previous life. Yeah, I wouldn't doubt it.

[00:17:15] Luke Storey: But I think about, you know, the blank canvas idea.

[00:17:17] Luke Storey: Again, it's like you're creating something that, A, has not only a shape, but a multitude of shapes. There's shapes within shapes, right? And so that's, that's one way that the art plays with itself, so to speak. Mm-hmm. And you interact with it, of course, according to that shape, and shapes create energy or move energy.

[00:17:37] Luke Storey: But then there's also the colors within the shape. So to me, it's just like if I'm imagining myself as you and I'm sitting in the studio and I have a bunch of blocks of glass over there, it's like how do those blocks of glass become that? There's, there's such a creative transition and so much inspiration needed because it doesn't seem, because there's so much [00:18:00] detail involved and so much, like, physical labor and so many hours involved, it doesn't seem like something that you can kind of make up as you go,

[00:18:08] Jack Storms: right?

[00:18:09] Jack Storms: Right. Yeah.

[00:18:09] Luke Storey: Like- It seems like there's a lot of planning even after you have the initial vision. Like, "Ooh, I wanna make something that's like a figure eight or whatev- whatever." Yeah,

[00:18:16] Jack Storms: there is a lot of planning that goes into it because it takes a long time to create. Are

[00:18:19] Luke Storey: you doing a lot of math and drawing and things like that before?

[00:18:21] Luke Storey: A

[00:18:21] Jack Storms: lot of math, a lot of transitions, a lot of, uh, you know, going between millimeters and, uh, fractions and trying to figure out, uh, how to, um, uh, get strategic cuts out of a piece. So there's a lot of orientation that you have to worry about. And in orientation, I don't like to have a front or a back to a piece, so every single angle for me has to have a visual element that makes it the front.

[00:18:48] Luke Storey: Ah, right. Like this one here, for example, we, you have it on a little rotating platform, right? And from every angle you look at it, you're getting something different.

[00:18:58] Jack Storms: Yeah. Yeah.

[00:18:59] Luke Storey: [00:19:00] Yeah. So it's like it's not only three-dimensional, it's, like, multi-dimensional 'cause-

[00:19:05] Jack Storms: It's multi-dimensional ...

[00:19:06] Luke Storey: you can look at it from any side and you're gonna see something different.

[00:19:09] Jack Storms: And what we, uh, and-

[00:19:10] Luke Storey: Oh, right here is... Ah, man, I wish people could see what I'm looking at right there.

[00:19:14] Jack Storms: Get used to that.

[00:19:14] Luke Storey: I just stopped in a dope spot.

[00:19:16] Jack Storms: Yeah. Get used to that because no one is going to see that except you because they have to be sitting exactly where your eyes are. And sometimes just how far someone's eyes are apart can affect what they're seeing, right?

[00:19:31] Jack Storms: Because we've got two orbs that are, they're feeding data to our brain.

[00:19:36] Luke Storey: Right.

[00:19:36] Jack Storms: Most of us have two orbs, uh, that are feeding data to the brain. And, uh, so what you have right now when you're looking at that piece is a completely unique, uh, perspective in the here and now because if you get up and you move and take a bathroom break and come back and sit back down, you might have to move around quite a bit to find that angle again.

[00:19:58] Jack Storms: Right. Right. And [00:20:00] it's, and it's all there, and there's a thousand, uh, maybe there's a million other angles because with this piece in particular you can put it upside down and display it, you can turn it on its side and display it. It's a cube, right? So it's got, uh, you know, uh, eight different corners that you can put down.

[00:20:16] Jack Storms: Uh, on, on- Oh, right, right ... on its pedestal, right? So you're gonna see all kinds of different, uh, all, all kinds of different things. So I, I could never capture that for you. But I take your word for it. It's, it's pretty-

[00:20:27] Luke Storey: What i- what do you think the value of art in general is?

[00:20:32] Jack Storms: To a person?

[00:20:33] Luke Storey: To a s- like, to a space, to your home, right?

[00:20:36] Luke Storey: Like w- Mm ... like that wall was a white wall, right? Sure. Not that interesting. I was at a swap meet and saw this big sun painting, and I thought, "I don't know where I'm gonna put that thing, but it's super cool." And it was relatively cheap. And, um, I mean, for, at least for a piece of art. Brought it home, carried it around the house, couldn't find a place for it, and then I walked up here and I was like, "Duh."

[00:20:58] Luke Storey: Yeah, yeah. Like, [00:21:00] "There's the spot," right?

[00:21:00] Jack Storms: It's beautiful, yeah.

[00:21:01] Luke Storey: So this space to me is much more interesting and inspiring only because that thing's hanging on the wall. It, it does something for me spiritually and emotionally, just like any little artifacts and things that we have laying around the house or displayed in the house, you know?

[00:21:17] Jack Storms: Well, I, you know,

[00:21:17] Luke Storey: I- There's an energy to art that, I don't know, it's, maybe it's a, a question that can't even be answered, um, because it's, it's something that kind of defies explanation. It's almost ineffable. It's, it's an energy thing, bro, you

[00:21:32] Jack Storms: know? Yeah.

[00:21:32] Luke Storey: But it is.

[00:21:33] Jack Storms: I think so too, and I think it's a, it's a measure of intentionality a- as how you, how you, uh, you know, how you nest, right?

[00:21:41] Jack Storms: So if you're nesting with things that have value and beauty and bring you a sense that, you know, elevates your senses or elevates your, your sense of you or a sense that you wanna have or... I, I think that's got a lot to do with it. Uh, just because y- have you... [00:22:00] Like, I know you're not an art major or anything like that, but they, when they first introdu- introduce you into, um, into the academics of art, they actually go into like, uh, fascist art, right?

[00:22:12] Jack Storms: And you can see that it has no soul, right?

[00:22:14] Luke Storey: Oh, wow.

[00:22:15] Jack Storms: Because they're, it's just strictly state propaganda and I, I, I don't think state propaganda is very good at making art. I think art has to have an intention that's uplifting. Uh, a- and, and there's some horrible, there's some, there's some art out there that, uh, like there's Goya.

[00:22:35] Jack Storms: Have you ever heard of Goya before? Uh-uh. All right. Goya used to draw, uh, you know, a, there's one of Cyclops where he's picking up one of his ch- or, or, or Cronos picking up one of his kids and he's, like, eating him like a burrito, right? And you just have the little legs right there. It's one of the, uh, main, uh, you know, uh, things that people study for the history of art, right?

[00:22:54] Jack Storms: And it's horrific. And he had a whole bunch of other just insane, uh, [00:23:00] uh, depictions of horror, of war, and everything like that. And then when you understand where he was coming from, he, it was, it was a call to not fall into this because this is our history and we keep doing it. And-

[00:23:12] Luke Storey: So it's a warning, not a celebration.

[00:23:14] Jack Storms: It's a warning, not a celebration. And it makes you, it makes you kind of appreciate, uh, for me, appreciate living a life where that's not in play, right? And it makes me wanna keep a society that's never gonna let that get into play, right? Mm-hmm, mm-hmm. So it's, so it's a call for, you know, uh, for, to, to live a life at least that, um, you know, you don't feed into that.

[00:23:41] Luke Storey: It's, it's interesting, um, looking at, I- I'm kind of into the, uh, the old world, um, architecture conspiracies, Tartaria and stuff like that. Mm. By no means an expert, but it's kind of a curiosity of mine because we've just been lied to about everything. Of course. So it's like, why would they be telling the truth about history?

[00:23:59] Jack Storms: Well, they [00:24:00] will eventually usually, but they have to sell these, uh, schoolbooks first that already have the- Right ... history printed. That's very important. Schoolbooks, you have to sell schoolbooks.

[00:24:09] Luke Storey: Totally. But looking at just architecture from a couple hundred years ago where you go to Europe and see these amazing old cathedrals and old buildings that rather than tearing them down and putting up some shitty, uh, you know, like drywall boxes, th- there's people that kind of sense the inherent value to the ingenuity and creativity and the labor that went into building things like that.

[00:24:32] Luke Storey: And you contrast that with like a mini mall in Florida, you know? It's like, there's a lot of mini malls in Florida. Yes. God bless Floridans. N- no offense, but, um, Floridians. But I just always feel less inspired and kind of less alive when I'm in an urban environment that lacks that intentionality, you know?

[00:24:53] Luke Storey: Well, it's like- It's like what's so sad, San Francisco is a great example of like a beautiful city with amazing architecture. Unfortunately, there's a lot of [00:25:00] criminals running it, so it's kind of a hell hole. But if you cleaned it up, you know, you'd go like, "Oh my God, it feels amazing to walk through Golden Gate Park and, you know, look at these Victorian houses."

[00:25:10] Luke Storey: And there's, there's an energy to it that you don't get, um, I don't know, in downtown Houston or wherever, right?

[00:25:15] Jack Storms: Right. Absolutely.

[00:25:16] Luke Storey: So I'm just someone who's very much affected by what my eyes see. There's a certain-

[00:25:23] Jack Storms: Another, another

[00:25:24] Luke Storey: very- ... there's a certain value I find in it, and it has nothing to do with like materialism or status or any of that.

[00:25:30] Luke Storey: It's- It's just, it's an energy that I'm s- I seem to be super sensitive to.

[00:25:35] Jack Storms: To me, it's about intentionality of what, what, what this, what, i- is there any, is there a utility to this architecture besides just housing whatever?

[00:25:45] Luke Storey: Beside shelter.

[00:25:46] Jack Storms: Yeah, absolutely. Yeah. Uh, and it r- it makes me, uh, like I'm pulling back all these stories from when I was actually like pursuing my degree and learning about all this stuff.

[00:25:55] Jack Storms: And, uh, there was a church that, uh, that was in Europe somewhere, [00:26:00] and it took over 100 years to build. And the people that laid the foundation, their grandchildren might see the completion, but they still built because they were building for a purpose. They were building to inspire, and I think that if inspiration is part of the build, you know, people can get it wrong, of course.

[00:26:20] Jack Storms: You know, I c- I can not appreciate that aesthetic at all, but, uh, more times than not, an intention for inspiration will illustrate itself out in the actual building itself, and I think that, you know, that, that shows.

[00:26:34] Luke Storey: I just thought of something about your art in terms of, um, just store of value- Mm-hmm ... and also legacy.

[00:26:40] Luke Storey: Your art is probably the most indestructible art ever. I don't know. Maybe that's not true. We could throw this over the balcony and it would all shatter, but you think about a painting, like how much care goes into preserving a Van Gogh in a museum, and the humidity, and the, the UV light, and, like, the protective glass, all this kind of stuff.

[00:26:58] Luke Storey: I feel like your art [00:27:00] is gonna be here, like, long, long time after a lot of paintings are.

[00:27:04] Jack Storms: They're gonna be digging it up, like, you know, in- Right ... 5,000 years, and someone's gonna, you know, uh, sand something off, and it's gonna look like a stone, and they're gonna figure it out that it's glass, and they're gonna figure out there's something inside there, and it's got a pattern in there that illustrates that, oh, wow, these, these primitives knew about the golden ratio.

[00:27:22] Jack Storms: Right. You know? They, they... This, at least this society that created this piece knew about the golden ratio and because it's illustrated right there.

[00:27:30] Luke Storey: Uh, you were talking about how there are so few right angles and straight lines in nature- Yes ... which is something I talk about all the time 'cause- Mm-hmm ... I'm, I'm so annoyed by the way we build houses.

[00:27:40] Luke Storey: They should be domes. Like, it's so obvious, right?

[00:27:42] Jack Storms: Sure.

[00:27:43] Luke Storey: Shout out to Geoship out in Nevada City, California. They're, they created these amazing, um, bio-ceramic domes. It's insane. I've

[00:27:50] Jack Storms: seen them. I've seen their- Oh,

[00:27:51] Luke Storey: have you? I've seen the

[00:27:52] Jack Storms: clips.

[00:27:52] Luke Storey: I recorded a podcast inside one. Oh. In their little model home last summer, so epic, and ever since- How did,

[00:27:57] Jack Storms: how did it sound?

[00:27:59] Luke Storey: You know, to be [00:28:00] honest, um, this one didn't have any rugs or anything in it 'cause it was kinda their demo model, and the sound reverberates a lot. It's kind of like being in a speaker. I think I was more sensitive to it 'cause we're recording, and I mean, this room's terrible for recording. I'm supposed to have a proper studio.

[00:28:17] Luke Storey: I just haven't gotten around to it. But if there were no rugs in here, the sound would be way more bouncy, right? So the sound was really bouncy, but that was also through the lens of trying to record great audio, um, and also 'cause there was no rugs. But what I could see based on that was if you had furniture and rugs in the right places and you put some good music on in there, you're, like, inside the speaker.

[00:28:41] Luke Storey: Yeah. So it could be really cool. I think just the application that I was using it for that particular day was a little challenging, but just the feeling is really good. Uh, but what I was getting at was, 'cause I've contemplated this, like, why, why do humans divorce themselves so much from- [00:29:00] um, geometry that nature makes that works, right?

[00:29:04] Luke Storey: And it's, it's, it's designed that way by the creator for a reason. Why do we deviate so much and just do our own thing? And there's a lot of reasons for that probably. But when I've thought about the right angles and straight lines, the only thing I can really think of is some crystal formations, you know, that, that you look at them and go, "Oh, wait, that looks like it was cut," right?

[00:29:22] Luke Storey: But it's not. It just, it came out of the ground. And crystals are, of course, controversial because some people think they have magic powers and some people don't. But when I saw your art, and even with it sitting here, to me it's almost like you've recreated the process of making crystals But doing it as art, does that ever, does that resonate with you, or is that something that's crossed your mind?

[00:29:45] Jack Storms: Yeah, y- you know what? Um, yes. Uh, but I, I don't necessarily think of it as, as that way. I just think of myself as an extension of, of, you know, the, the same, the same creative process that made those crystals. I, I [00:30:00] try to tap into that as a whole. So the same thing that made, uh, you know, the, the, the, the crystal, that made the rock, that made, um, you know, the, uh, all these things that we can tie to these things that are, uh, associated with the golden ratio, I'm, I'm in that.

[00:30:17] Jack Storms: But I'm restricted to the, um, I'm restricted to the straight line. There's a, uh, there's this, there's a saying, and I- it comes from a quote, and I don't know if it was Nietzsche or whatever, but it said, "I only feel free to expand within borders."

[00:30:32] Luke Storey: Oh, yeah.

[00:30:33] Jack Storms: Right? So if you've got no borders, you kinda, like you're aimless.

[00:30:36] Jack Storms: You don't know where to go. Mm-hmm. So now that I've got like a definition, that's where I just say, "Okay, this is, these are my parameters. This is, you know, this is the, this is the left wall, right wall, top, front, back, and this is what I'm gonna do as far as the creative process goes." So, uh, that's how I see myself as far as, you know, connecting to that, that same creative process that creates the crystal, that creates the, [00:31:00] the, the shell-

[00:31:01] Luke Storey: That's cool

[00:31:02] Jack Storms: you know, the nautilus shell. That's cool. Yeah.

[00:31:03] Luke Storey: Have you ever thought about, um, integrating crystals inside glass? Like- Oh.

[00:31:09] Jack Storms: Oh, yeah ...

[00:31:10] Luke Storey: rather than what's in there now, all these... I don't even know what's in there. It just looks really pretty. But, you know, chunks of amethyst or something like that. Is, is there a, is there a way to even do that?

[00:31:20] Luke Storey: Yeah. Or is that something you've

[00:31:20] Jack Storms: done or thought about? You definitely can do that. That's, uh, that's not something that's prohibited. Uh, it, but, uh, for me, it doesn't, um, it... you know, there's so much room to explore. Like, I've been doing this 20, uh, you know, 25 years now, I guess, 20-something years, and I still don't feel like I've tapped into everything that I can design here, and it's still bubbling up in my brain, and that's just where everything sits.

[00:31:45] Jack Storms: So whenever I start a piece, um, you know, every once in a while, a piece will break or shatter or, uh, you know, an accident will happen, or, you know, some, some mishap in the studio. It, it happens. It's rare. But when it does happen, uh, there's a little teal- [00:32:00] there's a big part of me that cries, you know, 'cause I've got a goal, right, to make this.

[00:32:03] Jack Storms: And but there's a little part of me that's not crying, that's going, "Go to the sketchbook. Go to the sketchbook," and openin' up the sketchbook, and I'm just looking for all these things that I've wanted to make forever and I just never had the opportunity. And then that allow- that broken piece will allow me to just dive in there and tackle it, and that's how, really, I, uh, I started, uh, you know, working with the lathe.

[00:32:26] Jack Storms: I started working with the lathe, uh, that can turn things, so I make beautiful wine bottles. Um, I, I make a beautiful, uh, egg.

[00:32:33] Luke Storey: I saw the

[00:32:34] Jack Storms: eggs And it's fierce

[00:32:35] Luke Storey: Is that your favorite piece, the egg?

[00:32:38] Jack Storms: Oh, God, it was. You know, I- When

[00:32:40] Luke Storey: I was watching one of your videos-

[00:32:42] Jack Storms: Yeah ...

[00:32:42] Luke Storey: there was something egg-ish and, and you were, "Oh, this is my favorite or one of my favorites."

[00:32:46] Luke Storey: I was like, I can see why. That thing is dope.

[00:32:49] Jack Storms: Yeah. You know, so, um, at, at one point, that's the thing with muses, right? When you make a muse a person, you know, sometimes those relationships don't last and you're left with the, the m- ... the muse result. [00:33:00] Oh, yeah. And so that one, uh, I'm not married anymore, but when I was married, I dedicated that one to my wife, named it after her, and, you know, h- had a whole, um, you know, narration that, that, that, uh, you know, uh, I could talk about and how this was inspirational.

[00:33:14] Jack Storms: After that, I just was like, "You know what? I'm just gonna make eggs. I like eggs."

[00:33:18] Luke Storey: Yeah. Yeah. Makes sense. Uh, talk to me about the frequency element. Uh, my shout-out to John Bowers, my operations manager. He's the one that put me onto your work. Otherwise, I, I don't know if I ever would've found it 'cause I'm not someone that kinda pursues or learns about art.

[00:33:33] Luke Storey: I feel like I would like to, but haven't gotten around to it yet. But, uh, you know, he sent me your site and I was like, "Wow, these are insane-looking." And you have these wearables, you know, which I'm wearing one right here, which are super cool. Art that you can wear. Um, but what really struck me was the aspect of somehow embedding frequencies- Right

[00:33:53] Luke Storey: into them.

[00:33:54] Jack Storms: Yeah, absolutely.

[00:33:55] Luke Storey: Tell me all about that, 'cause that, that's really interesting.

[00:33:57] Jack Storms: Well, for me, it starts with the Genesis story. [00:34:00] Uh, when I was recovering from the eye, right, and I'm in there, I, I, I melted down. Like, it was the... I was under a whole bunch of stress. It wasn't for certain whether I was gonna be able to, to make it.

[00:34:10] Jack Storms: I was telling myself every day, "I'm gonna make it, I'm gonna make it, I'm gonna make it." But, you know, there's still the other narration that's going on in my head that's just very, very nervous about what's going on, and that would start to grow a little bit, and, uh, it got pretty stressful for me. Uh, shortly after that, um- Um, marriage fell apart and, uh, you know, I've got all these things about how, what, what's gonna happen with the business, what's gonna happen with my art career, what's gonna happen with my, you know, am I gonna see my child again?

[00:34:41] Jack Storms: All, all kinds of stuff, right? So it's all now real, and it's happening to me, and I've got one eye and I'm still bouncing around because it, it, when you, when you on- if you cover up one eye, right, and you walk around for a day, you're gonna bump into a lot of stuff. And I was bumping into cabinets, I was bumping into car doors.

[00:34:59] Jack Storms: I was [00:35:00] like, you know, I was, I wasn't driving for, like, two months, three months, because how far away is that vehicle from me? Oh, wow. Right? You have to kind of relearn these things. Mm-hmm. So I was, I had all these stresses. Plus, I had the physical agitation of getting smacked when I'm not expecting it, right in the, right in the dome.

[00:35:15] Jack Storms: You know, right in the head. So I was, I was, I was a bundle of nerves. Well, you showed up with

[00:35:19] Luke Storey: a big gash on your head

[00:35:20] Jack Storms: today. Yeah, I got a big gash on my head right now.

[00:35:21] Luke Storey: Different kind of accident.

[00:35:22] Jack Storms: Yep. I was in a real bad state, and what happened was when I was, I, I was gonna throw myself, my strategy was I was gonna throw myself back into the work, and that's all I was gonna do was just work.

[00:35:33] Jack Storms: Work, work, work. But I couldn't stop that- Negative narration

[00:35:39] Luke Storey: Yeah

[00:35:39] Jack Storms: And I'm touching the work and I'm j- like if I was awake, my hands were on five pieces of glass. I just wanted to do a magnum opus. I wanted to do the best egg I'd ever done, uh, which I call the OVO. Uh, I, I was... I wanted to do the best, uh, aerial, I wanted to do the best cube, and that- that's [00:36:00] why I wanted to make that my main focus, but this narration was going on in my head, and I'm touching the work.

[00:36:05] Jack Storms: And, uh, y- I'm sure you're familiar with reiki, right?

[00:36:07] Luke Storey: Mm-hmm.

[00:36:08] Jack Storms: I- I'm pretty convinced that there's a negative reiki.

[00:36:11] Luke Storey: Oh, yeah?

[00:36:12] Jack Storms: And I had it going on right here because that, every single one of those pieces, the clarity of the glass, it can get oxidized. The non-leaded glass, it can get oxidized. It can start to yellow, it can start to tin, and that's what happens to...

[00:36:26] Jack Storms: You know, it's, it is pretty indestructible, but if you leave it out in the Arizona or the Texas sun for a year, two years, it's going to tin a little bit. You d- Oh, okay. Like, is it physically indestructible? Yeah, but, like, is it, like, visually? You know, can you, uh, uh, take away from it by leaving it, leaving it in the sun, the strong sun for a long period of time?

[00:36:46] Jack Storms: Like, this takes a long, uh, this takes quite a while to, to achieve to get this tin, right? These pieces started to tin. They'd never seen sunlight before. They'd never seen the... You know, they're, they've been in my studio.

[00:36:58] Luke Storey: Oh.

[00:36:58] Jack Storms: And in addition, [00:37:00] the glue lines started to yellow and crack. In addition, the color that you see in there is, uh, a, it's a, a thin film like you see on sunglasses.

[00:37:10] Luke Storey: Mm-hmm.

[00:37:11] Jack Storms: Uh, it's a thin film that goes on that is, that, uh, that's molecularly bonded to the surface of the glass so it doesn't come off. That started to peel away within the piece. All of those things happened, all five pieces, all within this little section right here, and I was like, "I gotta get it." Like, the, the only suspect was me.

[00:37:28] Jack Storms: I was doing it. There was no other suspect. Like, if it was the glue, maybe the... You know, I'll go back and try to figure out if I got a bad batch, or if it's the glass, did I get a bad batch? Same thing with the dichroic, the color. But all of them and all of them in these five pieces, it, it just, it could not...

[00:37:45] Jack Storms: So what I started to do is I started to, um, I, I, I needed to get a grip Yeah, I needed to grab the reins and, uh, redo my narrative and hold onto that narrative and make it be positive. I started to listen to isochronic tones, [00:38:00] and I just started to listen to them all the time, and some of them I wasn't receptive to, and some of them I was instantly, you know, like it would, it would, uh, it would just permeate me as a whole, and it would just, at first, it just took the edge off, and then I turned it into a habit, and then I started to have a different perspective and I just, you know, hey, look, this is not the way life...

[00:38:21] Jack Storms: I wanted life to be, but it's life and it's a gift, and I can go two ways. You know, which wolf do you wanna feed? Mm. I wanted to feed the good wolf. You know, I don't wanna fight with the bad wolf, right? I mean-

[00:38:33] Luke Storey: Yeah.

[00:38:34] Jack Storms: So,

[00:38:34] Luke Storey: uh- I've, I've had a lot of bad wolves .

[00:38:36] Jack Storms: Yeah, absolutely. So, uh, I love that parable.

[00:38:39] Luke Storey: Yeah, me too.

[00:38:40] Luke Storey: The good wolf and the bad wolf. I made a lot of wolves fat, put it that way.

[00:38:43] Jack Storms: Good wolves, though, right?

[00:38:44] Luke Storey: Yeah. Well, now, yeah.

[00:38:45] Jack Storms: Oh, there you go.

[00:38:45] Luke Storey: Now I'm fattening up the good wolves.

[00:38:46] Jack Storms: Um, so, um, that was my introduction into how, uh, frequencies can affect a person. So I'm, I'm a living testament. My work is a living testament because now I listen, there's a low hum of isochronic [00:39:00] tones that run through my studio, um, and I leave them on on a regular basis You don't have to actually have them so audible that it's distracting, but it's just so, it's just permissible enough to where if I, if I stop, I can hear it, right?

[00:39:16] Jack Storms: But besides that, I'm just, like, doing my day. And, you know, there's still struggles, there's still challenges, there's still things that happen in the studio. Life still happens. It's not like a light switch you turn on and everything is a Disney movie. But, um, I feel it gives me the tools to navigate that better and become, um, more, uh, more equipped to deal with challenging situations.

[00:39:37] Jack Storms: Like if, if, if this little shaving accident where I sliced off half my dome, uh, you know, this morning preparing for the podcast, if this had happened in that period, I, I would've just been a basket case. It would've been a mess. I would've... And, and some people- Yeah ... even on great days might say, "Well, you know, this is not who I wanna show on a podcast.

[00:39:54] Jack Storms: Let's reschedule." But for me, I'm just like, "Uh, um, I think we can make it [00:40:00] work." That was this morning? "I'm getting on a plane." Yeah. Shit, dude. I'm impressed. At o- one o'clock in the morning.

[00:40:02] Luke Storey: Oh my God.

[00:40:03] Jack Storms: Yeah.

[00:40:04] Luke Storey: I couldn't even do a podcast on the same day that I flew, even if I was feeling my best self and didn't slice my head open.

[00:40:10] Jack Storms: Yeah. So that was my introduction. That was my introduction to it. And then, um, uh, uh, I'm, uh, a couple years pass, and I, uh, learn about a, uh, frequency engineer, uh, named Brad Johnson. And, uh, uh, I was turned on to him through a good friend of mine, uh, Kat. And Kat put us together and she, um, she said, "Hey, look, this guy can do frequencies, and glass is, uh, a good, uh, substrate to hold it.

[00:40:40] Jack Storms: And I've got a-" Oh, right ... "a geometric, uh, Fibonacci-drawn or golden ratio-drawn, uh, substrate that goes through that glass, right? Uh, let's, let's, uh, let's start putting the frequencies on here." Because she- I've- I'd told Kat this story before, so she knew about my anti- uh, anti-Reiki or [00:41:00] my, you know, my negative Reiki- Yeah, yeah

[00:41:02] Jack Storms: uh, uh, experience. So we, uh, created a, a, a little product line, and we incorporated what Brad does, and Brad imprints the, the, uh, the pieces with a frequency. And, uh, there's a lot of, there's a lot of things that I'm learning about that process that I'm not keen with. The only thing I know is that when I got mine and I wore mine, uh, you know, I asked you how you felt when you wear it, and, and you're in this world, right?

[00:41:29] Jack Storms: So you're, you're dealing with a lot of, uh, different stimuli. Uh, for me, this was brand-new stimulus. I, I put it on and I, I started to have, like, kind of a nervous breakdown, but it was a weird nervous breakdown because the negative stuff was really emotionally jarring- Like, I never, never road rage 'cause I, I just don't see any utility in it whatsoever, right?

[00:41:49] Jack Storms: And it's got a lot of downside. Like, you know, every- to me, ev- to me, everyone on the road is armed, so I don't wanna get in a fight. They're at least armed with a vehicle, right? Yeah. So not- Especially

[00:41:57] Luke Storey: in, in LA.

[00:41:58] Jack Storms: Yeah. I'm not- Yeah ... getting out of my car [00:42:00] to confront somebody. You know, I apologize, I move on, whether it's his fault or my fault,

[00:42:03] Luke Storey: right?

[00:42:03] Luke Storey: You want to know where I stopped my road rage? What? I was on Normandy and Beverly, and I had flipped a guy off behind me, which, which I did, like, probably every day. I was like, ah, yeah. LA,

[00:42:18] Jack Storms: yeah.

[00:42:19] Luke Storey: So just when my brain was very, uh, tattered. Anyway, I flip this guy off, and then I come to a stop sign, and my girlfriend at the time looks in the rear view mirror, and she goes, "Go, he's got a gun."

[00:42:29] Luke Storey: And some dude just, like, hopped out of his car, was like, h- holding a pistol next to his- He was driving ... just coming at the car. I was like, "Yeah, okay, I don't think I'm gonna be doing that anymore. You never know who's in that car you flip off."

[00:42:41] Jack Storms: See, I mean, I've got a good enough imagination where that story works for me.

[00:42:44] Jack Storms: That's why, you know, I've heard a thousands, seen stories on, on the news. Yeah, that's not for me. Uh, so I, um-

[00:42:51] Luke Storey: Sorry I derailed you so

[00:42:52] Jack Storms: that you- No, no, no, no, no. Okay. Not at all. Not at all.

[00:42:54] Luke Storey: So the freq- the using these frequencies, and then you were talking about re-

[00:42:58] Jack Storms: Yeah. So I had that... I [00:43:00] kind of had like a, a, a road rage kind of, like, attitude about- Yeah

[00:43:04] Jack Storms: lit- little teeny things, but if I picked up my phone, 'cause I, I put it on and I'm not thinking about it really anymore, right? 'Cause it's not like, it's not like you're hooked up to a, a socket all of a sudden.

[00:43:14] Luke Storey: Yeah.

[00:43:14] Jack Storms: But if I was scrolling in my phone, we're talking like all within 15 minutes, so I'm bouncing up and then I'm bouncing down when I'm, I'm looking through and I see something that, you know, uh, like, I like, I like pugs.

[00:43:25] Jack Storms: I love pugs. I had a pug and just always stuck. I'll see, like, a little pug, uh, a post or something like that, and I start crying 'cause I miss my pug. Like, just, like, emo- emotionally, it was all... Like, my happy was super happy, like laughing, like more than I should at a, at a silly little joke when my, uh, when one of my guys comes in, and all within 15 minutes.

[00:43:44] Jack Storms: So I'm angry, I'm laughing, and I'm... Okay, so I just pick up the phone, "Brad, what's up? What, what, what's... When, when do I kind of, you know, get this thing figured out?" And, uh, he said, "Y- you just have to sit down and put some intentionality behind it, that you're, you're gonna steer this [00:44:00] ship." And once I started doing that, it was...

[00:44:03] Jack Storms: It, it started to have a real effect on me. And, uh, I never felt that, that powerful, like, buzzing, kind of like you're, um... I know how to describe it now because I've since felt it. Uh, just, uh, three weeks ago, I came off a period where I had taken it off to get into the shower, and I got distracted and left it there in the bathroom and just didn't put it back on again.

[00:44:28] Jack Storms: And a week goes by and I'm starting to, you know, get really ir- irritated and kind of stressed out again and, and all of a sudden I, "Well, I'm not, I'm not wearing my pendant. Maybe that's it I go to put it back on and that's when like, I, you know, because I had kinda like tuned myself to it, right? Mm-hmm.

[00:44:43] Jack Storms: That's when I felt like a real, um, uh, kind of like a... It, it physically felt like tasting a nine-volt battery that was super, super... Like, it's almost dead, so it's almost like a tangy kinda [00:45:00] charge. You know, you can afford to keep your tongue there for like- Mm-hmm ... a second or two. But you'd only remember that if you did it as a kid, right?

[00:45:05] Jack Storms: Oh,

[00:45:05] Luke Storey: yeah. Yeah.

[00:45:06] Jack Storms: Uh, but I f- that's, that's the way I felt, right? And then I'm just like, "Yeah, this thing's not going anywhere from now on."

[00:45:15] Luke Storey: So this guy, what was his name, Brad?

[00:45:17] Jack Storms: Brad Johnson, yeah.

[00:45:18] Luke Storey: Uh, he, he, he's, um, an expert in this kind of-

[00:45:22] Jack Storms: He's an engineer on the- ... frequencies thing ... he's an engineer on the Rife machine.

[00:45:24] Jack Storms: Ah, okay. So I don't know if this is gonna make the podcast, but Rife machines, um, they come, they come out, and they're, they're available to everyone, but they've got training wheels on them.

[00:45:32] Luke Storey: Mm-hmm.

[00:45:33] Jack Storms: Uh, because you can make these things so powerful that they have adverse effects at first, because basically you're, you're giving yourself, like, an emotional, uh, energy charge.

[00:45:45] Jack Storms: So that's the Lamborghini, but your body is the dirt road, right? That's

[00:45:50] Luke Storey: a

[00:45:50] Jack Storms: great analogy. And it's just like, vroom, just like humming down, and what's gonna happen to the car? What's gonna happen to the mission to get to where you're going? You know, so you're gonna have issues. You're gonna have problems.[00:46:00]

[00:46:00] Jack Storms: And so once I kind of, like, did the road paving, right, I'm ready for the, the Ferrari and, and, uh, that's kind of like how I feel now, you

[00:46:09] Luke Storey: know? So Brad figured out a way to kind of, um, imprint the glass- Yeah ... with these frequencies.

[00:46:18] Jack Storms: Yeah, and he's been doing it 20 years. Wow. Uh, and he's a... He's, he studied Rife, and he studied all the technologies that have come off of it, and he's, uh, you know, he, he's not accredited by any, um, academia, but, uh, you know, he's been doing it for a long, long, long time.

[00:46:33] Jack Storms: Oh, those are the coolest people around. Yeah, he's been doing it a long time. He kn- and he knows how to dial this to someone specifically. So what we're offering is, uh, four frequencies, um, that, uh, the solfeggio, the harmonic, which is the 528-

[00:46:49] Luke Storey: I think that's one this one is.

[00:46:50] Jack Storms: Yep. Yeah, n- the harmonic. Yeah. Yes, because that was in my private stockpile.

[00:46:53] Luke Storey: Yeah. Nice.

[00:46:55] Jack Storms: Yeah, I got the twin.

[00:46:56] Luke Storey: Oh, cool.

[00:46:57] Jack Storms: You have the same one? So we're on twinsies. Yeah, yeah. Yep.

[00:46:58] Luke Storey: Yeah.

[00:46:59] Jack Storms: And then [00:47:00] there's, uh, chakra, and there is, uh- Schumann. Schumann Resonance. Oh, cool. Right? But Brad's got the ability to tune these to you.

[00:47:13] Luke Storey: Oh, interesting.

[00:47:14] Jack Storms: Right? So you have to give him, uh, feedback, you have to...

[00:47:17] Jack Storms: And you also have to, you have to play along. So if you're living a unhealthy lifestyle and you start wearing one of these, you're just gonna, you know, you're, you're, you're on the dirt road with a Lambo, right? So, uh, the paving of the road for the Lambo comes in as having intentionality and, you know, living a better lifestyle.

[00:47:35] Jack Storms: Like, uh, you know, if you're smoking cigarettes, you know, s- try, you know, stop. You know- Hm ... if you're, uh, if you're not getting any sleep, take measurements and, and, and start making that a goal to sleep better. You know, there, there are things that people can do to sleep better that, that you can just open up the internet and sleep better and you're gonna come up with a m- million things right there.

[00:47:54] Jack Storms: Mm-hmm. If you can work to make your life better, this thing to me is just [00:48:00] like a jetpack. Uh, and I'm in the middle of it now 'cause I, you know, I don't live a perfect life. I live a pretty stress- a stressful life. Um, I'm running all over the place. I've got one eye, like I said. And, you know, I've got, you know, um, just there's a lot going on, and I don't necessarily feel like I'm capable of doing it all.

[00:48:17] Jack Storms: I've got one skill set, and then I have to rely on other people and, you know, I'm developing a, a, a great team now, which is, I think you would agree, is, is pretty crucial.

[00:48:26] Luke Storey: Oh, my God. Um,

[00:48:28] Jack Storms: but just, uh, you know, getting to that spot, you, you can't approach it. You're not gonna get there as a crazy man. You're just not gonna get there.

[00:48:35] Jack Storms: You're not gonna attract the right talent. You're not going to, uh, achieve any of the goals, and the goals that you do achieve won't be of any fulfillment to you.

[00:48:43] Luke Storey: Yeah.

[00:48:44] Jack Storms: Even the ones you achieve. Yeah. I did it, I did it, I did it. Why am I still pissed? Why am I still upset? Yeah. Why am I still angry?

[00:48:49] Luke Storey: Yeah.

[00:48:49] Jack Storms: Right?

[00:48:50] Luke Storey: Been there. Is there something about the substrate of the materials you're using that helps, uh, Brad get the frequencies in there to stick? [00:49:00]

[00:49:00] Jack Storms: Yes.

[00:49:00] Luke Storey: I mean, more so than a piece of wood or whatever- Right, right ...

[00:49:03] Jack Storms: you know, a lumber- No, absolutely. Uh, yeah, so because I use, uh, that substrate that has that pattern, um, uh, that seems to hold the charge and make the charge, uh, you know, more substantial.

[00:49:17] Jack Storms: Um, uh, so Brad sent me, um, you know, something that was charged that didn't have any substrate, and Brad sent me one of my own pieces back and, um, you know, I kind of- I, I didn't necessarily feel any difference, but I've worn the other one and not really had any ef- effect, you know, that I can really notice.

[00:49:41] Jack Storms: And then the one that he sent back to me that's my own work that he's charged, yeah, and that's the one that I, I keep on. I like... I, I just don't let it go now.

[00:49:49] Luke Storey: That's cool.

[00:49:50] Jack Storms: Yeah.

[00:49:51] Luke Storey: Yeah. It makes sense. I mean, like I said earlier, um, people that are really into crystals, and I don't, I don't know if they do or not, but there seems to be something really [00:50:00] unique about crystals in terms of the energetics of them that, you know, limestone doesn't have, you know?

[00:50:06] Luke Storey: I mean- Yeah, ab- yeah, absolutely ... it's like there's a... I mean, I think everything in the universe is kind of imbued with its own life in a way, even inanimate things like rocks. Mm-hmm. But crystals seem to be really unique in that regard. There is a certain energy to them even if you're not- I've got a

[00:50:22] Jack Storms: theory on that.

[00:50:23] Luke Storey: What is it?

[00:50:23] Jack Storms: Well, my theory is that you can see into the crystals. Like, you can see the matrix that's on the inside. You can see what it's doing, so it's already adding a, an- another element that's something that is not transparent or you just, you know, y- you see that there's a rhyme and reason that kinda like opens up a key.

[00:50:40] Jack Storms: And, you know, you know how they got mind over matter? Do you know the, the whole they, they were looking at quarks, and when you looked at the quark, the quark would- Right ... perform differently?

[00:50:48] Luke Storey: Right.

[00:50:49] Jack Storms: And then they... that's how they termed mind over matter. When I observe-

[00:50:53] Luke Storey: Oh, I didn't

[00:50:54] Jack Storms: know that ... it changes.

[00:50:55] Luke Storey: That's funny.

[00:50:55] Jack Storms: That's... It, it completely comes from, you know, the- It's

[00:50:58] Luke Storey: a, it's a quantum physics thing ...

[00:50:59] Jack Storms: yeah, [00:51:00] quantum physics. Yeah. Wow. And there's a lot of quantum physics in this, I believe. Yeah. Because, uh, y- you know, the, the frequency stuff, um, you know, is, is really kind of, um, um, discovered by, uh, Royal Rife because of what this technol- He, you know, he got the Tesla treatment.

[00:51:18] Jack Storms: You know, the dismissal- Yeah ... the, the lack of funding, the, the, the, you know, the, the- He

[00:51:22] Luke Storey: was blackballed.

[00:51:23] Jack Storms: He was blackballed. Yeah. Right. Um, and so because he got that treatment, you know, it's not everywhere. It's not permi- uh, you know, pervasive everywhere in our society. Um, I, I forgot where I was going with that.

[00:51:37] Luke Storey: Um. Tesla.

[00:51:39] Jack Storms: That's crazy.

[00:51:40] Luke Storey: Tesla frequencies.

[00:51:41] Jack Storms: Yeah, Tesla frequencies.

[00:51:42] Luke Storey: I mean, you just got off a plane, dude, so I don't... I'm surprised.

[00:51:45] Jack Storms: Yeah. I'm

[00:51:45] Luke Storey: surprised you're keeping up.

[00:51:46] Jack Storms: Yeah. I was, I was talking about something in the... you know, being able to see the, uh-

[00:51:51] Luke Storey: Well, I was talking about the difference, you know, the energetic differences between a plain old rock or stone- Uh-huh

[00:51:56] Luke Storey: versus a crystal, right? And you were, you were saying [00:52:00] how y- that you can see into it. There's something about you being able to- Yeah ... actually see into the matrix of its design.

[00:52:07] Jack Storms: Yes, and that's, that's very important, and I remember where I was going.

[00:52:10] Luke Storey: Okay, great.

[00:52:10] Jack Storms: Okay. So, uh, just recently they've looked at, uh, um, uh, what is it?

[00:52:15] Jack Storms: Quantum, uh, quantum, quantum... Entanglement?

[00:52:17] Luke Storey: And

[00:52:18] Jack Storms: quantum entanglement. Thank you. And DNA has a role to play in that. Um, and they're studying how quantum entanglement affects DNA. So they're taking pieces of DNA, they're separating it, and then they're emitting frequencies on it, and this re- frequency over in column A ends up showing itself in its twin- Oh, yeah

[00:52:41] Jack Storms: that it was separated from, right? And so for me, that's really exciting, and that's where they're actually starting to do a little bit more research where they're starting to say, "Okay, the, you know, we can't get into the frequenc-" I, I don't know why they're doing it, but, like, maybe it's just like it's, it's just being, it's just being discovered by a different avenue.

[00:52:59] Luke Storey: Yeah.

[00:52:59] Jack Storms: Right? Yeah. [00:53:00] But I think it's, I think it's all hitting mainstream, you know, sooner or later.

[00:53:03] Luke Storey: Spooky distance they call it.

[00:53:05] Jack Storms: Yeah. Yeah. Spooky distance.

[00:53:09] Luke Storey: Tell me about the difference between the way you create glass art and seems like everyone else... Is there anyone else doing it the way you do it? Because I've-

[00:53:21] Jack Storms: Yeah, there are a co- there are a couple people.

[00:53:22] Jack Storms: Uh, you know, I learned from people that were doing this work back in the '90s.

[00:53:25] Luke Storey: Okay.

[00:53:26] Jack Storms: Uh, there were only really, uh, two or three. '

[00:53:28] Luke Storey: Cause you're not using heat. Like, you're not melting

[00:53:30] Jack Storms: the glass. No, no. You're just cutting the glass. And so 99% of the... 98.5, maybe even 95 point... 99.5% of the art glass that you see out there, if you start touring galleries, it's all gonna be hot, right?

[00:53:42] Jack Storms: Uh, so this is very difficult to do. It takes a long time. By the time I finish one piece, a glassblower has put out, you know, enough to fill up three galleries to my one piece.

[00:53:53] Luke Storey: Right.

[00:53:53] Jack Storms: Right? So for that reason alone, I'm resentful enough, and I'm small and I'm petty enough to constantly [00:54:00] say, uh, "That's why boys blow glass, men sculpt

[00:54:04] Luke Storey: it."

[00:54:04] Luke Storey: That's funny.

[00:54:04] Jack Storms: Right? None of my glassblowing friends thinks that, thinks that's very funny at

[00:54:09] Luke Storey: all. Probably not. But, uh,

[00:54:10] Jack Storms: no.

[00:54:10] Luke Storey: That's like watercolor versus oils. But I th- I think that is a really interesting part of it just because it seems like, A, the labor and time that goes into it, but again, knowing nothing about either process, it seems like creating glass art the way you do, you would have more control, that you can be more precise, right?

[00:54:34] Luke Storey: When I think of glass art- Yes ... it's kinda whimsical and

[00:54:37] Jack Storms: floaty and-

[00:54:38] Luke Storey: Mm-hmm ... um, you know, like I said before, it's never been something that's appealed to me. But it seems like there's a lot less predictability- Yeah ... in, in that, in, like, melting glass and making something out of it, right? Yeah. It doesn't seem like it's an exact science, so to speak, whereas this seems like-

[00:54:54] Jack Storms: Yeah, I mean, they, they've got it down, but still, as much as they have it down, you're not gonna get 100% [00:55:00] predictable results, and that's still okay.

[00:55:02] Luke Storey: Yeah.

[00:55:02] Jack Storms: That's still, it's still art. And, uh, you know, I was, I was kinda, like, giving my friends that blow glass a, a, a hard time, uh, so I'd like to apologize to only the ones that are physically bigger than I am. The small guys I'm not too worried about. Uh, so yeah, that's a, that's a, that's the difference between the two.

[00:55:22] Jack Storms: Uh, this one is much more precise, but it takes a lot more time to create. So there's a lot-- y- you spend a lot more time with your intentions. You know, we've been talking about that a little bit. So you have a lot more time with your intentionality. And for me, I've got my hands on that piece for, you know, weeks and weeks and weeks and weeks.

[00:55:40] Luke Storey: I feel like your art would be a really good pairing with psychedelics. Yeah. Like, w- as I'm sitting here with this piece, I mean, it's super cool, but I imagine if, if I had eaten a l- a little bit of mushrooms, I'd probably sit and tweak on this thing for hours.

[00:55:59] Jack Storms: Do you ever [00:56:00] do mushrooms while you're at home?

[00:56:01] Luke Storey: Not mega doses. Very, very rarely. Usually, I'm only doing- Well,

[00:56:06] Jack Storms: we'll find out. We'll get you a piece for the studio. We'll get you a piece for the studio, and then just let me know how it goes.

[00:56:10] Luke Storey: Usually, it's in more of a intentional ceremonial setting, or sometimes, you know, every once in a while out in nature.

[00:56:15] Luke Storey: But I mean, anyone knows, right, from the '70s, black light posters. I mean, the, humans like to get high and look at interesting looking shit. Cool. Yeah,

[00:56:24] Jack Storms: yeah, absolutely.

[00:56:25] Luke Storey: I was, like, looking at this and going, "Man, I think I could really, I could really spend some time with this art," you know?

[00:56:30] Jack Storms: And you're not unique.

[00:56:31] Jack Storms: Uh, you're not unique w- in that observation. Are

[00:56:33] Luke Storey: you-- Is your art popular in the kinda psychedelic scene, in,

[00:56:38] Jack Storms: in particular? I've got quite a few, I've got quite a few people that are, are into the psychedelic scene that collect. But that's the whole thing about people that collect my work. It's, it's, it's, uh, it's eclectic.

[00:56:47] Jack Storms: It's all over the place. I've got people that have retired, uh, and that have just started collecting artwork, or people that have been collecting artwork for 40 years, but they've just discovered my work. And like, you know, like I said, I'm not everywhere, [00:57:00] right? You almost have to look, uh, to, to find me. And, um, you know, that actually ties into a really quick story.

[00:57:08] Luke Storey: Go for

[00:57:08] Jack Storms: it. Uh, so- For me, my inspiration I said before was, um, was Marvel Comics and comic books in general. But, you know, Stan Lee, you know, he's on the cartoons, so, uh, you know, him saying, "Excelsior," was kinda like, you know, I knew what his voice sounded like. Oh,

[00:57:23] Luke Storey: really?

[00:57:24] Jack Storms: Yeah, yeah. Oh, that's- He'd get on, he'd be a cartoon character.

[00:57:26] Luke Storey: Oh,

[00:57:26] Jack Storms: I didn't know that. He'd say, "Excelsior," which was his motto. And, um, so, uh, when I was, when I just moved to LA, uh, they, uh, they were looking for artwork to be in Guardians of the Galaxy, the, the first, uh, of the James Gunn Marvel stuff. And I got, uh, four pieces on the set for Guardians of the Galaxy, which is kinda cool because they approached me and said, "Hey, do you have any, um, artwork?

[00:57:53] Jack Storms: We'd like two pieces. We're gonna pay you 10K and, um, you know, we'll get them back to you in like, you know, three [00:58:00] weeks." And I was like, "Uh, yeah sure, but I don't want the 10K. I want my name on something Stan Lee Made

[00:58:08] Luke Storey: Oh, that's cool ...

[00:58:09] Jack Storms: you know, I want my name on, you know, along there with

[00:58:11] Luke Storey: Full, full circle.

[00:58:12] Jack Storms: Yep, yep. And so that it, they made it happen in two pieces. Wow Went to the, went to, uh, they w- uh, they went overseas. I think they shot it in England or in the UK somewhere. And, uh, and I got the pieces back, and immediately there were people that, you know, 'cause there was buzz about the movie, and I don't think they asked me to be quiet about it at the time, so I was like, "Hey, I'm gonna, you know, be in Guardians of the Galaxy, so."

[00:58:35] Jack Storms: So people that already knew who I was wanted those two pieces, and so I, I sold them. And then they, probably like two days after I sold them, uh, or I sold the last one, first one, the, the, the one that went quick was the, the cube, right? And then there was another one that I call a teardrop that was more in the background.

[00:58:51] Jack Storms: That sold. Second, uh, the, two or three days after I sold the second one, they call back and say, "Oh, we have to reshoot. Is there any [00:59:00] way you can send us those pieces again?" I said, "Those pieces, no, but I'll make you two more, and this time I will take the 10,000. I've already had my name, right?" So I, I- Right ... I think that's the best anyone's ever come out on a Marvel art deal.

[00:59:16] Luke Storey: That is super cool ... maybe.

[00:59:17] Jack Storms: Uh, so four pieces in, got paid 10K and got my name up, and you s- you see it right before the end credits. And they misspelled my name, but that's okay.

[00:59:26] Luke Storey: As it goes.

[00:59:27] Jack Storms: Yeah, they dropped the S, but, you know, I, I know it's me.

[00:59:29] Luke Storey: What about the interplay of light? So before we were recording, we turned off the lights in here and we c- we couldn't get it that dark, but we were, we were messing around with the flashlight, shining it in here, and that seemed to open up a whole other world.

[00:59:42] Luke Storey: For serious collectors, you know, when you go in a really wealthy person's house that's into art, you know, there's special lighting over a painting and things are placed in a cer- you know, they're, it's like part of the, it's integrated into the home in a way. I'm imagining people like that, like art [01:00:00] aficionados that have the resources probably do some interesting things with light.

[01:00:05] Luke Storey: Like, if this thing was in my house, I'd probably play with it for a month to figure out, like, the best place that gets some sun coming through it in the afternoon, and I'm gonna get a kaleidoscope on the wall. Yeah. And seems like light is a really- A huge, something that could potentiate the beauty and the value of your art- Yeah

[01:00:21] Luke Storey: more so than a static, you know, flat

[01:00:24] Jack Storms: image. It, it definitely brings out an extra element. The great news is for, I mean, for me as an artist, is that you don't necessarily need gr- like right now, uh, in the studio, we don't have any directional light on it. Uh, there's, uh, no spots, no this, no that, but that's still a beautiful piece of art, would you say?

[01:00:40] Luke Storey: Yeah. It's epic.

[01:00:42] Jack Storms: But if you put the light on it, it becomes, you know, functionally a disco ball. So it's just putting all of these prisms and all of these reflections and these cast colored shadows all over the wall. Uh, if you're standing between two people, they're just like, you know, they're, they're wearing [01:01:00] rainbows.

[01:01:00] Jack Storms: Right. You know? It's just, it's, it's a lot of fun. Um, and it's beautiful, and it gives you a sense that this piece is more than, than, than its parameters-

[01:01:14] Luke Storey: Mm-hmm ...

[01:01:14] Jack Storms: dictate.

[01:01:15] Luke Storey: Yeah.

[01:01:15] Jack Storms: Right? So-

[01:01:16] Luke Storey: It's dynamic.

[01:01:17] Jack Storms: It's dynamic.

[01:01:18] Luke Storey: Yeah.

[01:01:18] Jack Storms: Right.

[01:01:18] Luke Storey: I thought of that- Yeah ... because I, in my office, uh, window sill, I have a little, um, crystal pyramid.

[01:01:24] Luke Storey: Mm. Like, I guess it's made of quartz crystal. And at different times of the year, different times of the day, the sun will hit that, and I'll walk into my office and be like, "What the hell is that?" And there'd be like a crazy ass rainbow on the other side of the room. You know, if it hits it just right, it, it seems, it magnifies it.

[01:01:39] Luke Storey: Right? It makes it bigger. Or every once in a while, I don't know, you'll see that, you'll be in the shower and, right, the light comes through the window in a certain way and reflects off something, you get that. But, uh, I, I like the idea of having something that's bigger and more substantial like this, where you could get strategic about its placement- Yeah

[01:01:56] Luke Storey: and basically create a whole other element of the light. It's like [01:02:00] this art is art you can look at, but when you introduce light to it, now it's creating secondary art, too. You know? Yeah. In terms of like-

[01:02:09] Jack Storms: Absolutely ...

[01:02:10] Luke Storey: your- Yeah ... its ability to reflect and transmit different colors of light onto different areas.

[01:02:14] Luke Storey: And

[01:02:14] Jack Storms: it almost puts out something that's like abstract, but it's pulled from something that is so well coordinated and planned, right? Yeah. So it's from, it's from all this controlled planning, and then you get this beautiful chaos. Order

[01:02:27] Luke Storey: to chaos. Right?

[01:02:28] Jack Storms: Yeah. Yes. Order to

[01:02:28] Luke Storey: chaos. But not in the New World Order way.

[01:02:31] Jack Storms: No, just art.

[01:02:32] Luke Storey: All right, dude. Uh, for those interested in checking out your art, which of course I highly recommend 'cause it's just amazing and fascinating, if you guys wanna get one of the wearables or buy a piece of art, you can go to lukestray.com/jackstorms, and the code there is Lukestray and you get 15% off, which for some of these pieces that are in the multi-thousands, 15% is pretty, pretty damn good.

[01:02:55] Luke Storey: Sub-

[01:02:55] Jack Storms: substantial, yeah.

[01:02:56] Luke Storey: Yeah, it is. So thank you for that.

[01:02:58] Jack Storms: No, it's my pleasure. Thank you for having me.

[01:02:59] Luke Storey: [01:03:00] What's the feeling you hope people get when they're wearing or sitting with a piece of your art?

[01:03:09] Jack Storms: A sense of being who you wanna be, you know, taking that step into, or continuing that step, or existing in that place that, uh, you know, you're the, you're the person you wanna be, you know. No one wants to be a bad person, right? Everyone wants to be, everyone wants to, um, you know, be good and do good.

[01:03:28] Luke Storey: Everyone except- Just kinda get lost ... sociopaths and psychopaths. They're out there. They're out there. Hopefully everyone listening to

[01:03:34] Luke Storey: this show is like what you described.

[01:03:36] Jack Storms: Yeah, absolutely.

[01:03:37] Luke Storey: But- What, w- tell, what art have you not created that you dream of creating? Is, is there a piece that you have planned or in your mind that you haven't made just because at this s- point it seems impossible?

[01:03:51] Jack Storms: Oh, it doesn't seem impossible. I know what it is.

[01:03:53] Jack Storms: It's a torus, like a donut. Like just- Like I, I, I already do something called a circ, which [01:04:00] is a piece that is, uh, uh, round, right? And it's, you know, beautiful. And then what I do is I kinda like turn it into like a, uh, a bicycle tire. So I'll, I'll collapse each face of it so it's round and not just flat as it, or straight as it goes and makes a circle, right?

[01:04:17] Jack Storms: So now it's curved as it makes a circle. Oh, okay. The next step in that process is to drill a hole through it and then make the inverse of that shape that's on the outside, on the inside, and that's a torus. Uh- Oh. And that torus is, uh, you know, something they, uh, they, uh, they say is, uh, you know, connected to the shape and size of the universe, and it's all theoretical, but I kinda like having that connection and the challenge of making the piece.

[01:04:43] Jack Storms: It's just having the time to make the piece. And hopefully, you know, within the next year or so, I can give myself that gift of creating the, you know, the two months I need to, to make that piece. But once I make that piece, I think, you know, that, that'll-- At that point it'll be my magnum opus. There are [01:05:00] some really interesting pieces that I wanna build off of that.

[01:05:03] Jack Storms: It's mostly off of the lathe. Mostly off of the lathe. Because I, I basically invented this machine so I could turn glass like I saw they were turning granite. I, uh, like I said, I went to school in New Hampshire, so they got granite. It's granite state, right? Ah, okay. But next door in Barre, Vermont, that's where they actually cut all the granite, and it's all regionally the same, uh, geographical space, right?

[01:05:24] Jack Storms: So I went there and, to Barre, uh, Barre, Vermont, and I saw one of these granite facilities, and they had like a-- Uh, like the vehicles that are moving this thing were one of those super trucks that go up like two stories, two or three stories, and the tires are bigger than two people's, you know, 12 feet tall tires and all that.

[01:05:43] Jack Storms: I'm, maybe I'm exaggerating or maybe I just, you know, the memory is just making it bigger than... But I remember looking up in this stone-cut cavern, right? So they cut, they, like, "Hey, do we wanna build a place or do we wanna just cut into the granite?" They cut into the granite, right? So, uh, and they [01:06:00] actually fastened the machinery to the sides of the granite walls, and this is huge.

[01:06:04] Jack Storms: And they're turning this big, huge piece of granite, and I'm just looking at that going, "Oh, that can be glass." And then everywhere I went, I heard, "You can't. No. It-- No, it, it's never gonna work. It's never gonna work. Never gonna work." And I was like, "I'm gonna build it." And I went out and built it and started making really these beautiful champagne bottles, these beautiful wine bottles, wine goblets.

[01:06:24] Jack Storms: Then I started doing the egg. But, uh, what I wanna do is I wanna ta- start taking pieces that, uh, are off center. Those are all turned on center. I wanna start taking pieces that are chucked off center so I get a nice lathe cut that's not really attached to the rest of the piece. So it might be a strip.

[01:06:43] Luke Storey: Oh, cool.

[01:06:43] Jack Storms: And then I'll reposition the piece and do another strip somewhere else, and it's going to have that lathe, um, that lathe line in there. I, I don't know. It's, it's like describing- ... yeah, something that you can only really kinda see.

[01:06:57] Luke Storey: Well, it's good that you're not short on ideas, 'cause the world needs [01:07:00] more beauty.

[01:07:00] Luke Storey: All right, last question, rapid fire. Who have been three teachers or teachings that have influenced your life and your work?

[01:07:07] Jack Storms: Uh, my father, um, uh, would be, uh, the, the first guy. Uh, then there's Terry Downs, and I'd probably say, uh, Stan Lee.

[01:07:17] Luke Storey: There you go.

[01:07:18] Jack Storms: Yeah.

[01:07:18] Luke Storey: All right, dude. Keep doing the thing. Thank you for your art and- Oh,

[01:07:22] Jack Storms: thank you.

[01:07:22] Jack Storms: Thank you ...

[01:07:23] Luke Storey: yeah, thank you for joining us today. Yeah. Cheers. Stoked to meet you. It's always fun to meet the person behind something, where you go, "How in the hell did they do that?" Not that I'll ever, not

[01:07:33] Jack Storms: that I'll

[01:07:34] Luke Storey: ever- You're gonna learn. Come out. I'll, I'll show you for sure ... I'll never really get it, but I have a little more of an idea now.

[01:07:36] Luke Storey: So I encourage people to follow you on social too. You've got a great Instagram. Um, and, and I really liked watching the YouTube videos, where you're, like, explaining how you do it in your workspace. 'Cause I'm just one of those guys that gets very curious about, okay, that's cool, but how did they do it, you know?

[01:07:53] Luke Storey: So thank you for joining me, man.

[01:07:54] Jack Storms: Thank you.

[01:07:59] Luke Storey: All right, you [01:08:00] guys, that brings this one to a close. Thanks for listening and learning along with me. Now, if you've been tapped into this podcast for a while, you know I'm all about uncovering the hidden forces that impact our health, and one of the most overlooked and most dangerous is EMF in our homes.

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