'Transparency'- Winter: Ice and Purity
Purity is the absence of impurity or contaminants in a substance.
Ice is water frozen into a solid state. Depending on the presence of impurities such as particles of soil or bubbles of air, it can appear transparent or a more or less opaque bluish-white color.
It falls as snowflakes and hail or occurs as frost, icicles or ice spikes. Glass shares many similar qualities, the material shining with light and imbued with subtle hues of liquid transparency.
50 CGS members have been selected to take part in this visually stunning online glass exhibition.
Thank you to all those that submitted a piece of work. For each online gallery show, pieces are juried and selected by the CGS committee. We had a large number of entries for this show and were delighted with the response from members.
Launched on 4th February 2015
Leaded panel of Bullseye glass, mirror and stainless steel mesh. This panel shows a small part of
a glacier taken from a holiday photo and reflects the light on ice via the mirror and rippled glass
fusible folded clear glass on fused glass light box
A panel of fused and leaded float glass, 320 x 450 mm.
The glass pieces are made on temporary moulds to give interesting texture to the back resembling bubbles and droplets . They are then wired on an artist/ blacksmith made steel frame . 37 cms wide by 110 cms drop and are lit by LED bulbs.
Inspired by the fragility and frosted layers of the winter ice, I explore the inner textures and transparencies within the glass. This work narrates my perception and memories from the winter season.
This dish was made from an ice mould. The flat mould was taken from sheet of ice textured with salt and water. Chunks of Gaffer glass were placed on this mould, then fired to form an irregular-shaped sheet. The sheet was then slumped over small pieces of ludo to form a bowl.
Kiln cast with polished surface
Fused glass pendant, kiln carved , wrapped in fine silver.
Kiln formed glass snowflake.
Engraved, enamelled & leaded glass, (flashed blue/sky and mouth blown glass).
pate de verre vessel with lampworked glass
Deep blues of cast glass reflecting the heart of the glacier, fading to light as the ice melts
A moment in time, frozen after the drop has fallen.
Recycled, textured glass, and copper sulphate.
Glass has beautifully transparent qualities, like ice. And, like ice, those transparencies can vary from cloudy to crystal-clear, and hold a variety of colours it steals from its surroundings. Like ice, glass entices to itself, holds onto, and returns light.
Description: This is one of four seasons made for
The Churchill School in Hawkinge, Folkestone, Kent.
They are inspired by childhood memories and in
particular a series of Ladybird books from my
childhood called ‘What to look for in spring,
Summer, autumn and (in this case) winter’.
They were beautifully illustrated by the Welsh
artist C.E.Tunnicliffe. I choose the heron because
I thought that his colours would suit the winter l
andscape. The Christmas tree is taken from one
of the pupil’s drawings.
Dimensions: 13" x 12" x 3.5"
Approx 200mm diameter x 6mm.
Kiln-carved Bullseye glass, using a primer/ plaster mix to make the texture.
Medium: Hand painted and kiln fired enamels on stained glass, set into a non-rust stainless steel frame with LED lights
Size: 8 x 10 inches
(20 x 25 cm)
Kiln cast glass and copper oxide, cold worked.
Icebergs are viewed by some as the epitome of Ice and Purity. Others may see them as a visible demonstration of our interaction with (or destruction of) our planet and the gradual disappearance of glaciers as our world warms up. But whatever the opinion is, they are always a thing of beauty, majesty and awe.
SHIZUKU means drops in japanese.
This piece was created in clear kiln cast glass, which has been cold worked, sandblasted and diamond cut. The work is like a solid block of ice, not yet melting it represents a frozen moment in time of an ancient landscape.
The narrative of this series of work refers to the stripping back of landscape to reveal the internal scarring of the land. The work reviews the geological history of landscape alongside the mark of man. This new body of work was inspired, by a residency at the Scottish Sculpture Workshop in Aberdeenshire; which was funded by the Naked Craft Network.
Ornela lead crystal
One from a series of three objects which used Antarctica as their theme. The objects were blown in colourless glass and then dissected, using the diamond saw, cutting at different angles, before reassembling into their current forms. All edges were polished, whilst the outer curved surfaces were given a light sand blast, to give the impression of the semi-translucence of certain forms of ice. This piece, as with the others, all lean over slightly. They are arranged on black glass plinths in order to give a deliberate reflection of the main piece. These characteristics can be observed on images of ice shelves, both the inclinations and the reflections on still seas.
A piece for the garden one panel hanging moving and another rigid in the ground below. All pieces vary demonstrating the change of season, melting ice. Transparency belongs to the form both metal and glass.
I have chosen water and ice trays as one way to explore the transparency of both water and glass.
Water is restful and calming, when frozen as snow and ice it is still and quiet. Glass with heat in the kiln can transform from solid to liquid and back again, as water does with cold in a freezer.
I use the lost wax process for these pieces, casting multiple’s of ice cube trays in wax then using these for a mould that, once the wax is removed, is filled with glass in the kiln. The work is then cold worked and bonded with epoxy to create base.
In this Ice Table the top is cloudy with veils and hints at movement in the water, while the curved, kiln slumped legs create another sense of movement and change as ice becomes water.
Glass can make a permanency of ice, catching the reflective and refractive qualities as light changes. These small segments are not just to be seen in their relationship to each othere, but to be held in the hand to enjoy the beauty of what we are losing with the retreating ice.
Hand blown glass design which shows off the hot glass gathering line when you gather molten glass from the glass furnace. This line is often not seen since you normally gather glass up to the pipe when blowing an object. Here it is deliberated shown onto the piece to demonstrate how fluid the material is in its hot state when blowing glass which is normally not noticed. Simple design but very tactile and effective to show off the this amazing materiel-liquid and hard at the same time!
Glass, sand cast, over pine cone. Pine cone instanly incinerated, only its' image remains, traced by the impurities. Displayed over blue and white glass base.
Living through each Finnish winter, I see such "impurities" trapped in the ice when I walk by forest lakes or on the frozen sea shore.
53 x 20 x 10 cm,
Silence - total lack of sound. Trees, frozen in the snow, dreaming.
Monster's etymology comes from the latin "monstrare", to show.
My Winter Monsters seek aesthetics and purity.
As ice, they produce the same pattern again and again, and they clip each other to evolve depending on the environment.
The dense base, dispersing in to the air.
Engraved Crystal Cullet, sandblast and hand (drill) engraved.
46cm X 60cm
Clear window glass.
Recycled Glass Frit
winter - one of my pieces with my own way of procucing pate de verre.
first I freeze my glass paste into form which I then sand cast.
winter in the country I originally come from.
The series "Eternal Ice" examines the different textures of Ice and Snow.
This Structure is made after a thawing iceberg on the black beaches of Iceland.
I interpret landscapes through exploration of material. I focus on rugged coastlines, looking at erosion as a spectacle of discovery and generation of form, revealing a sense of the history and movement of a place. The work is produced using my ‘Lost Ice Process.’ I use salt to sculpt ice as a one-off ephemeral model to take a direct cast from. The textures this provides and the transient nature of the creative process reflects the erosion and sense of time I want to represent in the landscape.
This piece is my response to visiting the 'White Place' in the New Mexico desert, as painted by Georgia O'Keeffe.
Frit de Verre and free formed in the hotshop
This piece was inspired by a walk in the Bernese Alps of Switzerland, during which we went inside a narrow tunnel that had been cut into the Grindelwald glacier. The sound wave of the loud deep groans and creaks of the glacier as it slowly moves is represented by the verre eglomise gold leaf and black porcelain line. The colour mirrors the intense blue of the opaque ice walls and roof as the sunlight filters through. The grass and soil impurities picked up and held within the glacial ice are reflected in the faults and bubbles in the clear glass.
Made: January 2015
Kilnformed and carved glass, frame and LED lights
Supporting Info: The piece is based on the lines and shapes that form in ice on shallow waters
and consists of multiple layers of glass, with LEDS used to give edge illumination to the shapes within.
This freestanding sculpture was inspired by the natural ice sheets that were forming, thawing and
reforming around the base of light posts at the IceHotel Lapland.