their use, and for his exhibition he made two canes that could be cut into murrine: one of the American flag, and the second a remarkable and complex word-cane of the entire Lord's Prayer. Murrine cane can be stretched out to any desired diameter, so that the wording in the prayer can be easily readable, or reduced to the size of a pinhead. For several years, Marquis included Lord's Prayer murrine of various sizes in his work. Career and work Following his M.A., Marquis maintained his headquarters in Berkeley. Over the ensuing years, he operated several studios, some in partnership with other artists, where he did production work (e.g. murrine marbles) both for income and to improve his skills, as well as original work. In the first few years, he traveled extensively, visiting Central America, Europe, the Far East, and Australia (twice). On many of these trips, he taught glassblowing techniques and established workshops. In 1977 he accepted a teaching position at UCLA, and from 1977 to 1982, he commuted weekly between teaching in LA and his studio in Berkeley. In 1982 he pulled up stakes in both California locations, and moved entirely to an island in Puget Sound, where he maintains his studio today. For a few years, he continued a production enterprise, which he terminated at about the time of his marriage in 1987. Throughout his career, Marquis developed and refined glassblowing techniques, and explored experimental directions, some successful, some not. Of one experiment, a set of blown glass and neon heads, he said "I had this need to go backward, to do something entirely stupid.". He engaged in collaboration with other artists including Therman Statom and Dante Marioni, learning and perfecting new techniques and approaches, which were then reflected in his own work; and at the same time teaching, and influencing the work of those with whom he collaborated. Marquis's body of work is characterized by a large number of series, often clearly evolving from one to the next. The work is "deceptively irreverent, playful, and frequently witty", but with amazingly perfected technique and a great deal of attention to form and color, and frequently with reference to classical glass shapes. There are also a number of signature forms, most notably murrine teapots, but also including geometric shapes, zanfirico handles, eggs, and elephants. Found objects, from Marquis's innumerable collections, are often included in his pieces. Personal life