MEMBER FEATURE:
CHRISTINE DITOLVO, Glass Artist & Performer
Our monthly Member Feature aims to showcase the talent that occupies our buildings and celebrate their work.
This month, we had the pleasure of interviewing Rockella Space Member Christine DiTolvo, a dynamic stained-glass artist and performer whose work blends the eerie with the eclectic. Based at One Eyed Studios, DiTolvo draws inspiration from all things spooky, kitschy, and unconventional, crafting pieces that are as bold as they are mesmerizing.
Christine DiTolvo is a multidisciplinary artist based in New York City, specializing in stained glass, painting, and sculptural works. Originally trained in stained glass in the 1990s, she spent much of her artistic career focused on painting and performance before returning to glasswork in the past three years. Her practice is deeply connected to the spiritual and emotional resonance of stained glass, using its luminous, ethereal quality as a medium for processing grief, fear, and transformation.
DiTolvo’s work explores themes of remembrance, the macabre, and personal mythology. She is known for her striking black velvet paintings, memorial pieces, and horror-inspired imagery, merging traditional craftsmanship with contemporary narratives. Expanding beyond conventional stained glass techniques, she experiments with glass etching, painting on glass, glass fusing, and incorporating natural elements into her work, alongside wire sculpture and mosaics.
Currently, she is focused on pushing her three-dimensional practice further, integrating fused glass and neon elements to create immersive, otherworldly compositions. With a strong belief in the healing power of art, she hopes her work not only captivates but also provides solace to those who engage with it.
To learn more about the creatives who call Rockella Space home, head over to the People page for a full list of in-depth interviews.
Who are you and what do you do?
I’m Christine DiTolvo, a fine artist and performer. Though I was born in New Jersey, my twenties were spent wandering—from Seattle to Berlin and everywhere in between. Looking back, I think I was searching for the confidence to finally make the leap to New York City —and in 2011, I did. I’ve been here ever since, fully immersed in the energy and creative pulse that fuels my work.
How long have you been at Rockella Space and what is your favorite thing about having a studio at One Eyed Studios?
I’ve had a studio at One Eyed Studio since October 2022. I love how close it is to my apartment, which I’ve been in since 2012.
Have you connected and/or created a community with any other artists in the building?
My nextdoor neighbor and I are pretty close. We’ve even went up to the Corning Museum of Glass together.
I’m tucked away in the back of the building, but I usually work with my door open. Drop by and say hi!
Tell us about your work. What inspires you to create the work that you do?
I find endless inspiration in glass—its vibrant colors, rich texture, and the mesmerizing way light passes through it. There’s something mysterious and almost alchemical about the material, constantly shifting and transforming with its surroundings. Working with glass often makes me feel like a crow drawn to something gleaming, captivated by its brilliance. I love pushing its boundaries, discovering new techniques, and exploring the infinite possibilities it offers.
Stained glass is often associated with sacred or historical spaces. How do you push the boundaries of this traditional medium in your contemporary work?
I love showing the public that stained glass isn’t just reserved for traditional windows- you can incorporate pop culture and kitsch into stained glass! Anything that can be drawn can become a piece.
That being said, I’ve also been commissioned to do quite a lot of memorial pieces, and I tend to go a bit more traditional in that regard. I’m not always sure how these memorial requests find me, or how the public knows that I find working with grief cathartic. Blood, sweat, and tears can quite literally go into my work, with the exception that now my fingertips are quite calloused.
Your portfolio includes both intricate stained glass designs and functional restoration projects. How do you balance creative expression with technical precision?
I’ve been pretty lucky to have a mixture of fun commission requests as well as repairs. It all requires problem-solving, though, which at its core is creative.
Can you walk us through your process for creating a custom stained glass piece—from initial concept to final installation?
Concept> Sketches> Making Copies Of Final Sketch> Selecting Sheet Glass Palette> Cutting/Gluing Sketch To Glass> Scoring (Cutting) Glass> Grinding All Glass Edges> Copper Foiling Each Piece> Soldering All Pieces Together> Cleaning> Adding Patina To Solder> Cleaning> Painting/ Signing.
This is the Tiffany Method. The lead came method is a bit different.
Many of your pieces incorporate bold, dark themes inspired by horror. What draws you to this aesthetic, and how do you translate it into stained glass?
Although I was always a spooky gal, I randomly got into horror acting/ FX makeup/ film, etc. in my thirties. Sometimes my expertise in that bleeds (pun intended) into my art and wardrobe.
Stained glass itself is naturally a spiritually-themed, spooky medium.
You work across various mediums, including limewash and reglazing. How do these techniques complement or contrast with your stained glass practice?
I absolutely adore anything to do with home or interior decor. I highly respect restoration, and thrill at the idea of transforming a space- home, work, or set.
The act of painting or limewashing walls is quite meditative for me.
Stained glass is a meticulous process involving cutting, leading, soldering, and painting. Do you have a favorite step in the creation process, and why?
You bet I do! My favorite part of the process starts with selecting the glass palette —digging through my collection of sheet glass and choosing the perfect colors, textures, and opacities. It feels a bit like shopping, playful, and full of possibility.
The second part I love is scoring the glass. When you’re as comfortable with the material as I am, it becomes almost like a dance— fluid, intuitive, and rhythmic. I should probably make more ASMR videos of cutting and breaking glass because the sounds are just so satisfying. And there’s nothing quite like the thrill of a tricky, highly textures piece of glass snapping with a perfectly clean break.
You create custom horror-inspired decor and set pieces. What are some of the most exciting or unusual commissions you’ve worked on in this space?
I’ve learned some pretty unusual things since having my studio, due to commissions. For instance, our left lung has one less lobe than the right, in order to make space for the heart. I’ve had to learn the specific fake blood formula used on the show “Dexter.” I’ve learned about the various kinds of color blindness, as well as the story of David Bowie’s left eye (which I picked out some really cool glass to emulate). my skills in rendering proportion, while at Marchutz, I explored the stunning landscapes of the south of France. The emphasis on capturing light in painting is something that has always stayed with me from my time abroad. Each of these programs allowed me to explore different techniques that have become fundamental to my practice today.
Black velvet painting is another medium you explore. What do you enjoy about working with it, and how does it fit into your overall artistic vision?
Any painter who has not tried painting on fabric should give it a go! I feel like the absorption of the paint is quite forgiving in the process. Also, the lighting and contrast you can get with black velvet is fantastic.
I feel like black velvet is also quite spooky and kitsch.
What’s your dream project? If you had unlimited resources, what kind of stained glass installation or horror-inspired artwork would you create?
I’ve been a little obsessed with the Northern Lights for a few years. I’d love to do a series of stained glass pieces that are not sunsets, but instead the Northern Lights, and backlight them with neon.
As an independent artist running a custom stained glass and painting studio in NYC, what advice would you give to emerging artists looking to turn their craft into a business?
Know your worth, be sure to have a good accountant, and give yourself grace.
If you were to invite anyone alive or dead to a dinner party, who would be on your guest list?
I’ve always dreamt of being a fly on a wall where Anthony Bourdain, Peter Falk, & Tom Waits are having dinner. I’d probably take up smoking again, but it would be worth the experience.
What projects/exhibitions have you got coming up?
I have the usual windows and suncatchers queued up, but also some more top secret plans.. Possible celebrity pieces and children’s book illustration.
Where can people see your work in IRL or online, and how can people contact you for a studio visit?
Call, text, email, or stop by if you’re in the building!
https://www.instagram.com/ditolvoglass/ Instagram
https://maps.app.goo.gl/U4Xst5Vm7iUg19rD9 Google Maps
