'Surface Reality'- Sandblasting
45 member artists that question the surface of glass and employ sandblasting techniques to enhance their work were chosen for this show.
The technique of sandblasting is one where surface of glass is blasted with grit giving the surface a cloudy appearance. Light is still able to filter through the surface and when patterns using a resist of mask are used, a variety of surface and three-dimensional effects can be achieved.
This is a member-only exhibition. Work by artists was put forward for selection by the CGS committee.
This online gallery exhibition was launched on 13th May 2015.
10 Windows 2.5m high x 2.3m wide in one row along street level. Both sandblasting a Deep Carving were used on three sides of two pieces of glass that were then laminated together placed into double glazed units.
Pate de verre,Sandblasted
Visual Poetry - interpretation of Poem by Ray Bradley
Sandblasting, acid etching on flash glass
The Aperture Collection blown sculptures of Elena Fleury-Rojo of Red Flower Glass explore the experience of looking through an aperture alluding to caves and geodes. Glass’s ability to record each force and impact has enabled Elena to capture the fluidity of form observed from these natural sources. The impact of light also brings a new dimension to the pieces; changing shadows reveal and hide elements of these inner spaces, creating an atmosphere and mood within the work.
Created during Joseph Cavalieri's Kiln Forming Residency at Northlands Creative Glass in Scotland.
The work is on permanent display and proudly seen from inside in the men's room, and, for the shy, from the courtyard.
Several layers of sandblasting were used until a suitable series of debths were achieved.
plate White and clear fused bullseye glass with big murrina. Sand blasted.
Sand-blasting to incorporate parts of the schoolchildren's drawings into the window and subtly reflect the church school status and outreach. The sand-blast allows borrowed light into the main hall whilst contributing to the design interest and providing a level of privacy.
Having lived in the Middle East for the best part of 10 years, this design is a memory of several freeform henna paisley designs that were frequently worn by women. The pattern has no specific meaning and is meant to be viewed purely for the beauty of the art with no religious or cultural meaning.
Glass panel on which patterns and textures, reminiscent of fragments of old wallpaper are visible. The glass is printed with silver stain, then sand-blasted on both sides to achieve greater depth and intensify the light. When light passes through the glass, the shape of the design is projected onto the wall behind: a trace, a reminder.
This was a commission for a local sheltered housing scheme. We took our inspiration from the surrounding landscape. Linda undertook initial design workshops with local primary school pupils, we then designed the work using Adobe Illustrator and had vinyl stencils cut which we applied by hand to each of the 16 glass panels, we hand weeded the stencils prior to the panels being sandblasted and fabricated.
For this new project I am experimenting with layering up sandblasted shards. Collecting a collage through each gather of glass; a collage inspired by urban culture.
The piece is designed to evoke Chinese brush and ink calligraphy, with the lenses creating a distortion in the inclusions.
Cut, drilled, sandblasted, colored, polished, bonded float class - sculpture made early 2014 - in the aftermath of several deadly typhoons and cyclone
Free blown black/green Graal blank, hand cut stencil, sandblasted through black to reveal green,
detail hand painting using high firing onglaze enamels,re heated, cased in clear furnace glass, blown & shaped,
surface sandblasted, brush polished, abraded with rubber wheel.
These pieces are a celebration of light. I like playing with the ceramic-like qualities of opaque glass, but still allowing the true translucent nature of glass to take precedence. These pieces are patterned transparent glass vessels with a thick surface layer of opaque coloured glass. I then mask two teardrop-shaped windows on either side, and slowly sandblast back through. This allows the light from behind to shine through the work, and illuminate the underlying pattern.
Sandblasted picture, deep carved to create the three-dimensional image .
multiple layers of glass, surface blasting
My ideas evolve from a love of drawing, I etch and engrave different materials in a variety of different ways to capture and transmit light.
Within this window artwork, the complex layering of sandblasted surfaces gives a delicate web of tones, transparency and reflection.
The rear pane has s sandblasted image of a beech tree, where the branches are sandblasted, giving subtle tones of grey.
The front mirror pane has been sandblasted so that only the tree silhouette remains silvered.
In daylight the silvered image appears darkly silhouetted, whereas at night time the mirror image glows with reflected light and the whole piece reverses dark to light.
The front surface has also been sandblasted in negative, so that the tree branches remain clear.
Prelude to spring. Sand blasting outlines the window – to the outside, and into the still dormant bud, emphasizes the still cold feeling just before spring.
Inspired by the client's desire for a piece that depicted sea and mountain reflecting their love of Japan and the Isle of Harris.
H277 x W1456 x D145mm.
Inspired from direct observation of oceanic forms which are directly translated from impressions and emotions stored from personal memory. The whole process of working directly onto the glass surfaces allows for immediacy and a freshness of the artistic idea. The combination of pressure and speed further adds to the varying depths and tonal qualities achieved. Each creation is unique. There is no paper trail of ideas.
Sand blasting is an integral part of much of my work. I do not use it to create imagery but rather as a means
of making surface textures and contrasts. The colourless sphere has been textured by using wood
glue as a masking agent and then sand blasting.( I affectionately refer to this pattern as my 'bacteria' texture, even
if bacteria has nothing to do with the work). For the ring I have sand blasted on two depth levels
using electricians tape as the mask; a deep blast through the black overlay to the transparent layer underneath, and a
light sand blast on a number of the black bars.
Both the sphere and the ring have been ground and polished, beveled rim/edges.
Kiln-formed glass, rolled up in the hot-shop and blown into vessel form, The piece is then hand-shaped
with Diamond pads to remove the surface and give a porcelain look and feel to it. The work
plays on the chemical reactions brought about when various coloured glasses are heated next to each
8"x 12", bullseye opaque glass 2006
Sandblasting through colour layer of crystal with a touch of drill engraving.
This piece is for sale
"Caithness Reflections" was inspired by the rugged coastline of the Caithness coast in north east Scotland. The glass was sandblasted, then hung in the kiln to be manipulated under gravity and heat
and then slumped.
Fused Bullseye glass with copper oxide inclusion and sandblast detail.
Simple clean line abstract design, skewed to suit the shape of the upstair balustrade, deep sandblast on 10mm clear toughened glass, 3 no identical panels with design running through for continuity. Each panel size approximately 1200mm x 900mm with polished edges and led strip down lighting and side lighting.
Sandblasted cast pate de verre piece mounted on dyed wooden stage.
'Cantharus Shell' was formed by sandcarving, sandblasting & acid polishing into the back of 19mm thick float glass using a variety of techniques, hand-cut stencils, tapes and adhesives to create depth and texture. The carving is up to 15mm deep in places.
The glass has an arised & polished hammer-shelled edge and is drilled and bolted to a chunky piece of slate using 20mm stainless steel stand-offs.
Blown vessel with overlaid colour, sandblast engraved with intricate design by Lucy Batt
This work explores the contrast between the beauty and the, sometimes fatal,
danger of fire.
A cup-cased sand carved Tulip vase.
10 cm high exhibited with guild of glass engravers some years ago
Enhanced since with lettering and patterns on stem and base. L
Letters are inside and lines outside.
Dimensions: large piece: h35 x w35 x 5cm smaller pieces: h35 x w25 x d5cm
Material: sheet glass, enamels and silver stain
Description: three cast, sandcarved pieces
Sandblasted and surface carved