Flow Slab #1

Flow Slab #1

I’ve been making some slabs, and replacing my saw with one that works, rather than my Castorama Chippy MacChipperson tile saw. It arrives yesterday while I was in Paris, visiting a friend who was there for the weekend, and the Art Paris Art Fair, and Paris Art Design. It’s a Gemini Apollo ring saw, and I’m in love. The blades are fragile, and I’m a dolt who already snapped one, but the finish is lovely, and there’s no chipping. So, here are pictures of one of my slabs, solid, cut up, and laid out in the kiln. I’m looking forward to seeing it when it’s all fired up.
The first firing was 1.3kg of glass, with a mix of blues, grays, and reactive glasses, the firing program was:
1. 167C/H to 663C hold 1:00
2. 333C/H to 810C hold 1:45 (since there is 0313, which should not be fired above 810C)
3. AFAP to 482C hold 3:00
4. 25C/H to 427C hold 0:01
5. 45C/H to 371C hold 0:01
6. 150C/H to 21C hold 0:01
The second firing, after everything was cut up and laid out is:
1. 334C/H to 289C hold 0:20 (to cure the shelf primer)
2. 222C/H to 677C hold 0:30
3. 333C/H to 804C hold 0:10
4. AFAP to 482C hold 0:30
5. 83C/H to 371C hold 0:00
6. AFAP to 21C hold 0:00
and, there will be more to come when it comes out of the kiln.
Reflecting/Projecting: Confronting

Reflecting/Projecting: Confronting

Here’s the second part of the reflecting series:

I’ve realized that I posted the picture of the other tile that goes with this one without saying anything about it. It’s over here.

I am currently working on a series ofcameo engravings based on photographs that I am taking in museums around theworld. I find it interesting to watch the reflections of people in the glasscases that hold objects in a museum; it seems to represent the museum systemitself, with our personal and culturalself-perceptions interceding with the objects on display. I think that we areincapable of looking at the objects through the eyes of the people who usedthem, and often, we don’t even notice that we project our own meaning ontothem. Our culture, like the glass, is invisible to us, except for certainangles, and we can easily forget the influence that it has on our perceptions.To translate these images from photos into engraved glass, the viewer, theobject being viewed, and the reflections become equalized, and the reflection ismade a part of the object itself. This one is the second of the series.
New Pendants

New Pendants

I’ve been doing some new pendants, in a palette of whites this time, I really prefer the circular shape to the rectangular ones, on the whole, and I think that these ones looks quite nice with the bail showing rather than hidden behind the glass. I love the reactions between the silver leaf and the french vanilla, which you can see in the creamy coloured ones in the picture below. I find the blues and golds that appear quite lovely, and more varied and complex than the silver reaction with reactive cloud.
I’m practicing with the silver and with a paintable version of silver gilding to see if I can be a little more precise with the placement of the silver, we’ll see how the expiriments come out. I think it would be interesting to control the placement of the reactions more so that I can use it as an element to build up imagery.