additional information
Information about specific processes I use:
My kiln-formed glass is possible given the medium's ancient past as well as relatively recent advances in glass science. My work draws from both ends of that spectrum. Each piece is carefully executed using processes that are similar to both Tibetan sand painting and traditional glass painting. I begin by creating a frit wafer (patisserie de verre) with the desired image.
To create the wafer, dry glass powders and sand-like frits are meticulously placed and shaped into color layers without disturbing the underlying powders. Like traditional glass painting, the image is executed in reverse as a mirror image. In essence, I am always working from “behind the canvas” and in reverse. The layers of glass powder and frit are then fired in a glass kiln until the particles just begin to stick together. The resulting frit wafer looks very much like a lacey sugar confection and is equally as delicate. No two wafers are exactly alike. The frit wafer is carefully cleaned and placed upon compatible glass chosen for the background or base of the piece. Once fully fused together, the glass with the patisserie de verre image can be further shaped by slumping using a ceramic or refractory mold.
Pieces usually require at least three to five separate firings depending upon the imagery and techniques chosen. Coldworking follows, and may include: sandblasting, grinding, hand finishing and polishing. The piece is then complete.
A personal observation:
Over the past two years, I have moved towards a visual form which leaves the frit wafers standing on their own in a two-dimensional presentation or formed into larger three-dimensional shapes without an underlying base. Removing the sturdier, solid glass from the visual and physical equation has left me with delicate renderings of primary concepts. This has been remarkably freeing in many ways. Depending upon how each is executed, pieces have the feel of ice and snow; others look and feel like lava or rough paper or eggshells; others appear leathery. Ultimately, they are works of glass. The contrasts and seeming incongruity piques my interest and my viewers' curiosity provoking an interesting interaction with the work.
My kiln-formed glass is possible given the medium's ancient past as well as relatively recent advances in glass science. My work draws from both ends of that spectrum. Each piece is carefully executed using processes that are similar to both Tibetan sand painting and traditional glass painting. I begin by creating a frit wafer (patisserie de verre) with the desired image.
To create the wafer, dry glass powders and sand-like frits are meticulously placed and shaped into color layers without disturbing the underlying powders. Like traditional glass painting, the image is executed in reverse as a mirror image. In essence, I am always working from “behind the canvas” and in reverse. The layers of glass powder and frit are then fired in a glass kiln until the particles just begin to stick together. The resulting frit wafer looks very much like a lacey sugar confection and is equally as delicate. No two wafers are exactly alike. The frit wafer is carefully cleaned and placed upon compatible glass chosen for the background or base of the piece. Once fully fused together, the glass with the patisserie de verre image can be further shaped by slumping using a ceramic or refractory mold.
Pieces usually require at least three to five separate firings depending upon the imagery and techniques chosen. Coldworking follows, and may include: sandblasting, grinding, hand finishing and polishing. The piece is then complete.
A personal observation:
Over the past two years, I have moved towards a visual form which leaves the frit wafers standing on their own in a two-dimensional presentation or formed into larger three-dimensional shapes without an underlying base. Removing the sturdier, solid glass from the visual and physical equation has left me with delicate renderings of primary concepts. This has been remarkably freeing in many ways. Depending upon how each is executed, pieces have the feel of ice and snow; others look and feel like lava or rough paper or eggshells; others appear leathery. Ultimately, they are works of glass. The contrasts and seeming incongruity piques my interest and my viewers' curiosity provoking an interesting interaction with the work.
