Trusting the Body. Colour pattern making in glass inspired by Lithyalin glass formula.
The glass quality that I work to achieve is opaque or translucent glass with a surface resembling polished semi-precious minerals, veined with a spectrum of dark contrasting hues. Therefore, my methodology is based on exploration of the technological potential of glass to realise my formal aims. My research in coloured glass concerns the possibility of depicting glass flow by means of the multi-coloured patterns' arrangement.
In crystals, for instance, different layers of colour reflect nothing more than the course of growth; the happening of time. I consider glass to be a material that allows reconsideration of the processes similar to that of the crystals’ formation but in a limited amount of time.
The Lithyalin colouring glass technique invented by Friedrich Egermann in 1828 is the principal inspiration that pushed my research further. Initially I focused on a simple method of fusion for glasses with different viscosities, which relates to pâte-de-verre principles developed by the French Art Nouveau artists including Emile Gallé and Almeric Walter. Subsequently I based my research on recent scientific data concerning colouring formulas of Ancient Egyptian glass production, using raw materials to obtain two background hues for my patterned structures: crimson red ‘dsr’ and indigo ‘hsbd’ vailed with black ‘km’.
The evolution of the human brain may be linked
with the development of the hand as a precision instrument, which extends
sensory processes of thinking. With this in mind, to enhance visual and
multisensory experience I create hand-sized sculptures, perceived and
apprehended by touch in motion
School of Material
Ceramics & Glass, 2014–2017
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The main trajectory of my research into glass is colour, which takes control over form and therefore speaks for itself. Molecular solution is colourless – not matter as such – but size and shape, or perhaps particles' motion are the cause and carrier of colour. While forming glass, I follow, or I am against, this movement of the coloured glass flow, sculpting the object by its colour outlines and their juxtaposition, respectively. My research in coloured glass concerns the possibility of depicting glass flow by means of the multi-coloured patterns' arrangement. Consequently, the idea that colour may be perceived integrally as a dimensional constituent of form requires the application of 'haptic vision', which was common to ancient Egyptian cognition. This haptic vision of colour, as opposed to the optical vision of light, causes the sensation to pass from one level to another. As the sense of touch and sight are allied in the experience of art for me, an interest in a possible state of reciprocity with the given material is closely tied to my ever-developing repertoire of tactile experiences. With this in mind, the volume of my sculptures is determined by my hand size.
- PgD Candidate, History of Art, Nice Sophia Antipolis University, Nice, France, 2017; MA (Hons) Glass Design / Printmaking and Photography Annexes, the Eugeniusz Geppert Academy of Fine Arts, Wroclaw, Poland, 2009
- Modern Love, Christie's South Kensington, Front Gallery 3, London, 2016 http://www.christies.com/exhibitions/south-kensington#lates_Nav