"Taking Shape: moulds and forming"
"Taking Shape: moulds and forming"- Launched on 23rd January 2014
This latest exhibition explores glass artists whose work depends on forming methods- by exploring 3-dimensional form.
Some artists use moulds in their work as part of their process, or that have developed a way to shape and form glass in a particular way using moulding or tooling. The pieces in this glass exhibition will reflect the intentions that truly explore shape and form through the carefully considered part played in the production of a mould to realise a piece.
Moulds can be made from a variety of materials, from wood, paper to stainless steel, pottery, clay, or plaster and silica. Even found objects can be used such as tree bark, pieces of ceramic etc.
One of the subtle and intruiging aspects of the use of moulds in glassmaking is that the artist will put almost as much, if not more, energy and pasison into crafting the shape through the mould. The starting point is the shape created or carved by them.
This is a juried show as with all CGS shows.
24 artists were selected from a number of entries. Thank you so much to all those that submitted work.
Clay mould blown glass sculpture. Detail of a seven glass piece suspended installation displayed with six A1 photographs taken of dancers in dynamic movement, by the artist. Made in 2012. Height of Elevate - foot and hands detail, approx. 70cm.
Amber Beach - open cast lead crystal. Refractory mould with lost wax process, cold worked, silver leaf gilding, cherry wood base. Made November 2013.
I regularly use slumping to create three-dimensional relief in my work, and I achieve this with the use of saffil paper which I build up in layers to create a mould for my desired form. In this triptych I have used this technique in two distinct ways: the main panels have four flowing shapes running through them, which were achieved with long moulds on the bed of the kiln. Then on the top of the panels are over 70 shells. These have all been made individually, by creating mini shell shape moulds, and then slumping the glass into them (after colouring with enamels). After firing, each shell was cold-processed by grinding and polishing the edges to a beautiful finish on a series of diamond discs.
‘Caddis’ has emerged through a combination of ideas - thoughts of the lost and discarded components of a manmade activity being fossilised alongside natural objects, ideas of the evolution of creatures that use camouflage and a memory I had about Caddis fly larvae. The larva is aquatic and collects whatever material it can from its surroundings to form an ornate and highly intricate protective case around itself.
From an initial investigation into seeing how manmade and natural elements could work together, I produced some samples that reminded me of fossils and it struck me that through the casting process we are creating ‘future fossils’.
‘Caddis’is a core cast using the lost wax technique. First I made a wax form around a plaster core and then covered it with wax elements cast from a selection of silicone moulds. A refractory mould was made around the finished wax model then the wax was steamed out.
My final outcome embodies personal memories, ideas and connections and forms the starting point of my investigations for the final major project of my degree.
I hope ‘Caddis’ evokes the viewer’s own thoughts and interpretations and would be interested to hear them
Cast glass, varying dimensions.
Mould blown glass using sodium silicate sand as a mould material. Patterns and texture are easily formed in the sand when soft, but it then hardens when exposed to CO2.
Conspire IV was originally modelled in clay and wax. The two body forms were modelled in clay leaving a tooled surface. The head and hand were then modelled separately in wax and then fitted into the clay bodies, this gives a nice contrast to the surface of the glass. Each figure was then invested in a casting material. Once set, the clay was removed and the wax steamed out, leaving a clean mould. The surface of the moulds was then painted with ceramic enamel colours, which fuse themselves to the glass when the pieces are fired in the kiln. This technique gives the glass a rich painterly quality.
These sculptures are mostly made from recovered window glass, kiln-formed around a central cavity that fits closely over a supporting hidden copper/steel rod. The colours are largely produced during the casting by metals (cobalt, copper, silver, tin and iron) incorporated into the glass mix. They are generally made as small 'family' groups, and mounted in gardens, as in the picture, where they succeed in gathering light, always seeming brighter than their immediate environment. This effect is created by reflection and diffraction, a result of the hand-made sand mold prepared individually for each piece.
Mold melted glass
Ebb - Arenicola 'Many Bristle Series explores marine worm formations through plaster, rubber & quartz mould making & Kiln Casting Glasma Glass techniques Dim: H 7cm x Dia 50cm
I Stand Corrected – 2013
Hotshop, Coldshop, Kiln formed, Mould making.
While studying an MA at Royal College of Art in London I have been exploring ways of working with glass that aim to extend the relationship between humans and glass. I use a non-hierarchical selection process to develop this relationship. Promoting ways that don’t relegate artefacts of the glass making such as moulds to the past, and present them as integral elements of the final forms.
Furthering these ideas has led to techniques that allow the glass to become a mould for itself.
Open cast textured black outer form with 23.5ct gold. Clear glass polished inset.
10 x 10 x 11cm
shallow dish formed in hand carved mould to give 3d texture on the reverse of the dish.
Glass sculpture that has been sandblasted and kiln formed, with bound and stitched thread.
The piece is sand cast - the back panel has been poured in a hot shop with the back of a ceramic figure pressed into the sand to form the mould, whilst the front was also pressed into sand but fired in the kiln using Gaffer glass to get the red colour. The sculptural panel creates a 'door' into a possible past, whilst the red figure is standing away from it looking forward but still has regrets. "Footfalls echo in the memory,Down the passage which we did not take,Towards the door we never opened" T.S. Elliot
this bowl explores the idea of a seedpod both in its shiny green underside and its pinker matt internal surface with the fragments of leaves and seeds incorporated into the glass - a memory of its past and future life.
two shallow vessels made with fused glass powder sheet, conjoined. Using ball moulds of different sizes allowed using one as the "foot" for the other as a compound form.
A stained glass lamp featuring individually hand cut holly leaves in rich dark green and glass 'berries' in red, brown and clear glasses. The shade was formed on a fibreglass mould using the copper foil technique, soldered together and the joints blackened with patina.
The original models for these cast pieces were created from sheet cardboard - the shape of which can be seen inside the cast block. However, instead of recreating the model itself in glass, I have chosen to cast the negative space around the original shape. This creates an interior world of reflections and refractions, and lends a fractal quality to the work.
Lost wax cast, polished glass
Sand Cast Mould Hot Glass
Mytilus Filter (2014) explores organic marine forms and
filtering systems using sculptural sand casting moulds techniques and hot glass. Dim H.5cm W. 26cm L.40 cm