'Softly, softly- Part 1' : CGS Members curated by Angela Jarman
The CGS invited artist Angela Jarman to curate this show, an exhibition of CGS Members that work using Kilnwork.
Angela is a British Kilnwork Artist and more about her work can be found at http://www.angelajarman.com
24 artists were selected from a variety of entries.
This exhibition will be held in 2 parts. The 2nd part of 'Softly, softly' will follow this one and be launched shortly. The 2 part will highlight artists with a personal relevance to Angela and should also be a very interesting show.
This first part of the Softly, Softly exhibition was launched on 30th June 2013
Angela Jarman Statement of Work
Childhood influences permeate Angela Jarman’s work; influences such as nature trails and television programmes, garden ponds and the mini-ecosystems illuminated by the microscope in biology class. Her interest in Freud’s “uncanny” is also very evident as she explores “…ideas relating to feelings invoked in the viewer”…to…”create pieces which have a sense of beauty, but which also have a quality about them which makes them slightly strange and disturbing, a lurking sense of unease, something uncomfortably sinister.”
Using the lost wax casting technique, Angela creates sculpture in mainly colourless glass, including black, which she views as the ultimate absence of colour. Having established her vocabulary of form, she now incorporates metal elements into her sculptures, which highlight their petrified organicness.
The CGS would like to thank Angela very much for all her time and help in curating this show for us.
30 cm shallow plate. Four layers, carved and shaped. Fused and slumped.
Fused, engraved and platinum lustred black glass bead, stitched onto a fused and slumped iridised black glass panel. Wall hung.
Cast glass, grinding, polishing, glue.
date made: April 2013
from coral series
Kiln formed glass, silver leaf, fiberglass, onglaze
Glass slab made from small pieces of scrap spectrum glass.
All 3 pieces were made from hot shop generated colour patties which were cast in individually made moulds. All three moulds had a fabric texture which was transferred to the glass during firing. The reverse side of each piece was polished to display the intricacies of the colours in the glass
I have been using sheets of woven glass cloth to explore the damage that occurs as a result of ordinary use. Damage that is natural and inevitable due to decay and the ravages of time. The duality stems from a dialogue one element now shares with the other. The same yet opposites. The two elements although originally separate, are now interconnected through a continuous flow of movement from one to the other, creating a balance. The final form is that of something every day and familiar, yet the material is unexpected and surprising.
Black and white Bullseye glass. Murrine.
Photo credit Irene Medina.
The minotaur and the mound are kiln cast separately, using Gaffer Glass, which has been cold worked and lightly acid dipped. The Bullseye sheet glass bushes have been cut and fired to soften the edges. Having originally thought there might be difficulty in casting long horns, I opted for a young minotaur, that still had the aura of innocence, even though I was prompted to a minotaur in the first place after attending a performance of Harrison Birtwistle's opera 'The Minotaur'.
This piece is made up of blue tinted glass, screen printed with enamel paint which was then kiln fired. The kiln cast cherubs are supporting a 'chandelier' made from a glass citrus juicer which was sawn in half, cold worked and embellished with upcycled charity shop earrings. This piece incorporated the newly printed glass and cast cherubs alongside the charity shop 'finds', therefore fulfilling my desire to reuse and upcycle interesting objects which others no longer have a use for.
My interest in images taken from underneath an electron microscope led me to create my entry. Natures' use of vibrant colours and its infinite source of inspiration motivates me into boundary crossing and experimentation. Different greens and yellow enamels were rolled onto the flat glass with a foam roller. Strands of silk were soaked in deep pink enamel and laid on creating different densities of colour. Crushed glass coated with purple enamel, gum arabic and flux, was shaped to create an amethyst wall. Bright yellow enamel was poured in last at the centre
Evoking Icelandic waterfalls. 14 strips of soda glass, twice fused and slumped, allowed to fall which ever way balance and gravity pulls it, creating movement, surprise and fluidity, squeezed out of a tunnel of mild steel on slate.
“Ærra Liða” (“Aerra Litha”). The name is the Saxon equivalent for our month of June. Literally, it means “before the gentle (or navigable) winds”. The vessel design is inspired by Saxon pottery, whilst the colours are inspired by Saxon textiles. This is made from powdered glass, fused, shaped and cold-worked.
Kiln formed glass coldworked and slumped over sandstone.
Float glass with inclusions of silver, aluminium and copper in the form of leaf, foil and wire. Fused and slumped.
ripple is a natural femomena,
that can be seen the visual image of the time
now and past in the same time.
over the ripple conbined the thinking of the past,
and in the front of the ripples conbined
the thinking of the now.
A lot of ripples effects each other .
like the human life.
Fused and lustred glass
It is all glass, the two rings are completely seperate but remain linked, they cannot be taken apart.
The kiln forming method was lost wax.
The dimentions are approx 10cm X 14cm X 12cm.
A kiln-formed vase using the 'drop'through' method.
It has been cold-worked and sandblasted. The materials is Bullseye glass
Glass cast from plaster mould in clear Bullseye glass