Wear it Well: Wearable Glass Art
As humans, we are the only species which consciously, deliberately alters its appearance. Bodily expression can communicate things which words never can. Far from a frivolous, inconsequential medium of expression, the personalised body lies at the heart of human nature and potential.
We could guess that the most feasible and palpable reason is that modifications of the body provides an precious means of self-expression. We want to stand out and appear unique- to be distinctive and individual - and hair-styling, make-up, jewellery and other adornments, our choice of clothing, etc. offer a clear and simple means of achieving this.
This exhibition delves into the art of the material, in this case within glass, and how this material can be used as a subject that adorns, accentuates and decorates the body in some way.
19 International glass artists have been selected to share their work with us. Many of the pieces are intricately detailed and meticulously brought together. The show is a glittering array of pieces from accessories, experimental pieces such as glass dresses, corsets, headpieces, shoes and jewellery pieces. All are intrinsically design-led and invite the viewer to look in more detail..
The CGS took a decision to not include traditional 'beadmaking' in this show as this technique will be highlighted in another show and we wanted to focus on other techniques and methods of demonstrating the beautification of the human body.
This show was launched on the 29th August 2014.
Fused glass pendant, deep hand carved and engraved to create the three-dimensional image. Wrapped in fine silver.
Watapana is the bean of a Caesalpinia Coriaria tree, better known as the divi-divi tree which grows on Aruba, a Caribbean Island. The necklace was inspired by this bean.
Lampworked glass with bubble inclusions and sterling silver.
Dichroic glass fused
Hand carved from hand blown English lead crystal colour overlay, then hand engraved with a drill, through the layer of colour with diamond, stone and rubber burs. It is suspended on a leather thong. I particularly like the combination of leather and crystal. Each pendant is unique, numbered and signed. This is LP22 and is available for sale.
Sometimes dreams and goals don't turn out as we would hope. A girl's fantasies about the fairy-tale marriage followed by the picture postcard life can quickly fall to pieces in the face of human frailty and grim realities.
"Shattered Dreams" was a performance piece conceived and constructed by Jamie and Ashley Gray, a mother and daughter artistic team whose challenges, loves, and weirdnesses run in close line to each other. The end goal was to produce a visual that, in a quiet despairing way, would scream disappointment. The shards of mirrored glass that reflect the culpability and involvement of the viewer, the bouquet of dead roses, the fool's-gold ring, the deconstructed and distressed charity shop wedding gown, the shattered hand mirror, the slashed-on-then-cried-off make-up, the loneliness of the setting; all these are signifiers that tell the story of a dream gone horribly wrong. It's Miss Havisham on the prairies.
The necklace and earrings which I am wearing are in silver and three colours of turquoise blue glass. The 49 pieces in the necklace are fused so that they cover at least 1 of the 3 layers of glass. The inspiration was the Chinawharf building designed by CZWG architects but when I had finished it it reminded me of boats moored in a marina and given the colour I titled it Aqua Marina.
Lampwoking,Borosilicate cleer glass, metal connections.
Waterjet-cut glass, beaded trim, acrylic beads and textiles.
Lollie LaRouge Hagan is a professional Burlesque entertainer and glass artist.
Her work is varied and rich but focuses on the female body, sex and craftsmanship. She works predominantly with glass, using intense colours and elegant forms to celebrate femininity and feminine strength. ‘LaRouge’ is a celebration of her two fascinations, burlesque and glass. It is a functional burlesque corset, designed to Hagan’s body for performance use, but also exists as a homage to glass art and technology. The piece was designed using 3D software, the red glass was cut using a waterjet cutter and slumped over a tailor-made mould. The piece was then sand-blasted and embellished using vintage motifs and trims.
Nudity is beautiful, empowering and risqué and this piece allows an element of nudity and protection to exist simultaneously. The juxtaposition of fragility and strength that glass possesses is the perfect vehicle for a discussion about feminine confidence and vulnerability.
Hagan’s education has been shaped by her exposure to artist Diana Dias Lowe whose work with glass and fashion inspired her. Hagan’s experience as an alternative performer has given her the understanding to construct such an ornate item, and her knowledge of glass technology has allowed her to explore these themes in glass. On the 21st of June 2014 Hagan and her costume preformed in Newcastle's Northern stage.
“Control Briefs”, a series of exquisitely rendered, life-size, cast glass pâte de verre undergarments that echo delicate detail, the allure of the original garment and the contours of the body. Byzantine Couture, for example, is a freestanding bustier with the most delicate whisper of black lace overlaying peach coloured glass lace. An undulating lacy bottom edge successfully supports the bustier on just a few points and the implied movement of the seductive black trim adds a twist of practised sensual elegance.
A silvered breastplate which acts as a blank canvas, capturing imagery, like instants of memory, from its surroundings. The mirrored art work provides the vehicle for an on-going, site specific series of works using photography and video, allowing the artist to capture the fleeting and transitory.
Country: UK and Spain
Made for a competition on the theme of "Space - The final frontier" combines lampworking and fusing techniques, designed to be worn as a large collar or neck piece.
Title of piece: Wearable analysis of my menstruation. Super (Headress)
The project "Wearable analysis of my menstruation“ proposes a series of 5 pieces that at first sight could seem an ordinary arrange of jewelry and ornaments. But as soon as we get close, the observer discovers that no silver, gold or any gemstones are included in the pieces, leading to the understanding of the title and complexity of the series. The 5 pieces that form the composition are created with tampons and sanitary napkins and completed with glass pieces.
Jewels have been in human history and specially that of women, since ever. Sometimes as simple ornaments, other times as amulets or emblems, others with added functionality and in many cultures as wealth symbols. They have been always objects of exhibition, in contrast, menstruation, a basic and natural process in the women's bodies, has always been hidden.
Half of the humanity are women, they bleed every 28 days for a period of 3 to 5 days. It is interesting though, that despite the recurrence of this process, menstruating women have been object of taboos, and referred to as impure, soiled or sinful in different cultures and ages.
Nowadays these prejudices seem to have evolved, even though publicists still remark how embarrassing and smelly it is. We also encounter the fact, that in the 21st century, women work and here the taboo relates to their efficiency at work. Throughout decades topics relating to menstruation have been generated regarding hormonal changes and those ones are used as a mockery, remark or menace to designate some work related disability.
Quoting Kate Kane in her essay „The ideology of Freshness in feminine Hygiene Commercials“: „(…) adds about feminine hygiene are powerful weapons in an ideologic battle for the control over women's sexuality. (…)“
"Wearable analysis of my menstruation" wants to make all of these taboos regarding menstruation visible and questionable, because the only way to dismantle prejudices is speaking about them.
10000 tampons and sanitary napkins are being used during the fertile years of one woman, they are therefore one of the best indicators to analyze her flux. The project consists of 5 pieces that refer to the 5 tampon sizes that we can find on the market and that relate to their absorption capacity: Light, Regular, Super, Super Plus, Ultra
Light is a pin, symbol of the smallest of expressions, the first stain.
Regular is a necklace made of small glass beads that fall down the cotton threads as if they were blood.
Super is a headress, like the one the bride wears on her wedding day, made of sanitary napkins.
Super Plus is a long and striking red necklace.
Ultra is inspired in the american indian breastplates, the maximum expression, over 100 tampons to create it.
Menstruation, a physical phenomenon whereby women loose blood proceeding from the uterus through the vagina. We are used to see blood, so why does menstruation still unsettle us?
Photographer: René Rioux
Glass with handcut foil and a verre eglomise gold centre piece.
Silk headband with hanging glass drops in a Matha Patti jewellery style.
The ‘Precious integrations’ series is a celebration of the ‘high altar’ of femininity and of the ritual beautification that forms the essence of the dressing table. This series is a continuation of Sara’s interest in playing with perceptions of preciousness and intrigue into the hidden elements of jewellery, “why do we hide away what we perceive to be our most treasured possessions”.
Taking inspiration from the glass dressing table sets of the 1920’s, Sara bestows a contemporary take on them by integrating hidden elements of jewellery such as Rings, Bracelets and Neckpieces within each of her sets.
Cast, Blown and Lampworked Glass, with Silver and 24 carat Gold Plate.
3cm diameter & 5mm height.
Cross pollination between the Hot shop and Kiln worked Bullseye glass to create Murrine.
The transparency of the glass creating surprising effects with natural lights inspires me. The glass magnifies or distorts images and puts them into a dreamlike state. The childlike effect glass has on me is infectious and boundaries are always stretched by me and glass artists that makes the whole industry fascinating. I love to cross pollinate between kilnformed glass and the hotshop.