My
fascination for glass became apparent over the last year. I’ve always enjoyed
glass paintings and drawings but my
passion for glass only really came to the surface through my photography,
whilst exploring the different light and
optical qualities of the material and through varying colours, textures,
patterns and reflections.
During
my diploma, I designed various patterns and forms which have an ability to
disorientate the user by challenging their
perception of depth and producing the sensation or illusion of movement. I
imagined making these patterns in glass and in
various scales.
Light,
shadow and translucency are focal points in my architecture; glass
becomes the material through which my immaterial architecture is created. The user can engage and play with the
optical and illusionary qualities of the material as light is reflected
and transmitted through it.
As part
of my research, through hands on work and in order to gain a real
understanding of glass as a material and its properties,
I realised one of my designs in kiln cast glass. I initially
wanted to work with clear glass to test out the pattern and its
illusionary qualities without being distracted by colour.
I started the process by
creating the MDF model shown below (Fig 1):
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Fig 1 Original model in MDF
showing interplay between depth perception and inversion.
The play of ligt is enhanced by the relief pattern, creatings a contrast beween light and dark. Photo by Amy Bodiam
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To realise this design in glass, several methods of mould making and casting were needed. To make
a wax replica of the MDF model, I poured hot melt vinyl rubber (Vinamold)
over the original to make a
negative mould (Fig 2) for casting the wax replica - to be used in a process called
lost wax casting.
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Fig 2 Vinamold forming a negative moulding of original model. Photo by Amy Bodiam
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| Fig 3 Vinamold relief surface. Photo by Amy Bodiam |
Having
successfully made a wax replica, I prepared the final mould; a plaster
and flint mix suitable for high temperatures in the kiln. Using a build
up of clay, I made a funnel shape (Fig 4) to form a
refractoy opening for the lumps of glass to be stacked and melt into
the mould. After casting the plaster and flint mould, I removed the clay
funnel and steamed away the wax model- a process called lost wax
casting. The heat resistant mould was then placed into the kiln at 1000
degrees Celsius and fired overnight. The stacked glass melts and flows though the funnel filling the mould.
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Fig 4 Plaster and flint cast with remenants of the clay funnel. Photo by Katy Rumm
After
firing, the glass sculpture needs to be cut and polished to create a
beautiful finish. This can take several weeks! I soaked the piece in
coca cola to remove any debris left over from the mould and polished
some of the circle reliefs for a smoother
more transparent finish. Some areas I sand blasted to create a more matt
and opaque finish, highlighting the contrast between the rough and the
smooth finish. (Fig 5) I
tested the sculpture's illuminosity, moving it under different lighting
conditions. It can appear clear, translucent or solid depending on
the time of day.
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| Fig 5 Glass sculpture after a kiln firing lit by dalight from behind. Photo by Amy Bodiam | |
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| Fig 6 Bubbles (trapped air in the casting process) were encouraged and add to it's magical qualities. Photo by Amy Bodiam |
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| Fig 7 A continued exploration now with colour; cast glass pigmented with violet powder. Photo by Amy Bodiam |
So
pleased with the results, glass really is magical! I'll now continue to
cast the design at a bigger scale and also cast it in various other
materials. I'm
curious to see whether plastics, such as acrylic and resin which are
cheaper and lighter in weight will have the same properties as glass;
and if so then what is their life span ? Does plastic last forever? Will
it rot, degrade or discolour?
How will it's illuminousity be affected?
How will it's illuminousity be affected?
©Amy Sullivan-Bodiam
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