Trusting the Body. Colour pattern making in glass inspired by Lithyalin glass formula.
The Lithyalin glass colouring technique, invented by Friedrich Egermann in 1828, is the principal inspiration that pushed my research enquiry further. In my view, the quality of its applied colour pattern is close to the veined structure of colour minerals and shows a strong resemblance to the character of opaque or translucent semi-precious stones.
In crystals, for instance, different layers of colour reflect nothing more than the course of growth; the happening of time. However, the perfect crystal cannot show a trace of its origin – it is colourless because visible light does not have sufficient energy to excite any of its valence-band electrons and be absorbed. My research seeks to understand this reciprocal harmony and the mystery of the colour's appearance. With this in view, my work proposes a parallel between glass and precious stones. 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 concept of synchronising the glass flow and my own body movement accordingly finds its continuation in the final stage of my work: glass cold working, orsculpting in glass. In a way this procedure can be compared with the act of painting, which enables colour harmony to be built successively, layer by layer. This indirect approach to the glass flow is not time-limited as the glassblowing process is, and this major difference allows you to be absorbed by a glass piece, discovering its artistic potential by focusing on each of its details.
School of Material
Ceramics & Glass, 2014–2016
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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, 2015–; 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