Laurie Kain was born in Buffalo, NY and found her passion for visual language at an early age. She attended the Rhode Island School of Design (1999-2003) with the intention of studying painting and soon became fascinated with strangeness and beauty of molten glass. "Everything I had been fascinated by in paint - its liquidity, its responsiveness to motion, its saturation and its transparency - seemed to be embodied in molten glass, with the extra dimension of process. Glass is shaped using one's entire body, gravity and one's breath. The poetic implications were stunning."

While in school, she was fortunate enough to study under Jocelyne Prince, Michael Scheiner, Dan Clayman, and other noted glass sculptors. She also completed an internship/artist assistantship with the internationally renowned installation sculptor Eve Andree Laramee. At this time, she began to explore concepts of memory and loss,  and to consider glass as a vessel for residue and artifact. She also began to draw from the strange aesthetic of the Victorian era - machinery, scientific and nautical apparatus, and fashion. Upon graduation, she moved to Seattle, Washington to further her studies in the North American capital of glassmaking. During this time, in additon to teaching, she worked alongside many notable glass artists, including Brian Brenno, Lenoard Whitfield, Charles Friedman, and Beth Fishman. She also worked as a teaching assistant and staff member at Pilchuck Glass School.

In 2006, she moved to the stunning Methow Valley, east of the North Cascade mountains, and is continually inspired and awed by the remote, magnificent landscape and the relative solitude. She currently works with Jeremy Newman and Allison Ciancibelli at Twisp River Glass,  plays with old clock cogs and gears, practices Buddhism, blows glass, grinds lenses, collects hairballs, twigs, old machine parts and coyote bones, and glues things to other things.  She lives in a funky old farmhouse with a woodstove, nine cats and a couple of chickens.