Exhibition
Imprint: Casting in Glass
An exhibition of Casting in Glass ( International Open exhibition)
If you thought cast glass was always glass at its most robust, this new exhibition is about to shatter those illusions – revealing subtle glass art that glows with luminescence.
Here, you’ll find glass works – brooding, dark, radiant and delicate – that demonstrate the stunning versatility of casting.
Perhaps nothing more vividly displays the sculpting hand of the artist than casting, where wax models are carved or plaster and sand moulds laboriously prepared and set. Only then can the process of melting the glass take place, filling and expanding the moulds to create intricate detail and texture.
The 38 works, selected from a huge number of entries, reflect techniques including kilncasting, sandcasting and pâte de verre. Artists from the UK, Holland, Australia, Russia, Romania, the USA, Bulgaria, Switzerland, Spain, Sweden, France and Canada submitted work for the show.
The exhibition leads into the Contemporary Glass Society’s Glass Skills 2013 – a year of exhibitions to celebrate the glassmaker’s art.
This show was launched on the 1st Feb 2013. Thank you very much to all those artists that entered work.
Core Cast with Ammonite for the bottle, high lead glass and Lost Wax process for Ammonite Stopper, gaffer glass.
www.ingridhunter.com; (e) ingridhunter@mac.com (t) 07720 347957
Cast Fennel using Bullseye Glass.
This piece explores the integral relationship between changing volumes and colour saturation in
transparent monochromatic glass. As the sculpture’s mass changes, it reveals subtle transformations
of colour and tone; the deeper the mass of glass, the more saturated is the hue derived from a
single translucent colour.
Impressions taken of found/treasured items which each evoke a personal memory. Some of the memories may be of a happy nature, others may not be so happy. They all contribute to a quilt of life's events.
Pink shell multiple fired with inner core for fossile texture, blue shell single fired without inner core for
sugary texture, both hollow for translucency and weight.
Year 2011
Title of Work: Hive
Cast Crystal, Lost Wax Casting technique, hand finished, 45 x 27 x 20cm.
Date Made: 2010
Artist: Sheena Larsen
7) Artist contact details: email: sheena_larsen@hotmail.com website: www.sheenalarsenglass.com
Country: Holland
The shape is nice, sweet and very likable so is the color vibrant and at life. The top and side is polished as in the contrast to the roughness of the work.
The size, h. 10 cm x W. 24 cm x D. 15 cm.
Date of made, 01/2012.
Cast glass – 3 piece. Approx (each) 400mm x 290mm x 50mm.
2009
Country: France
Inside the glass is the imprint of the ground of a field. This is an inverted landscape.
Date made: 2009
"Anger" is the first of the five stages of grief, and part of a series "Pocket-Sized Grief", which I have been working on.
Grief is personal, and often invisible to the outsider, and I wanted to create pieces which allow for handling and an intimate
relationship with both the piece and the subject. "Anger" is the imprint of the inside of my fist, the usually invisible and contained
core of an outward sign of anger, the individual and personal centre, made visible and brought to light.
Description: Cast lead crystal cold worked and polished.
Made May 2012
Country: New Zealand
Cast Gaffer lead crystal shadow vase with copper leaf garland supporting a cast Gaffer Lead crystal bloom. The vase is 360mm high and 230 mm in diameter. The whole piece is 600mm high.
Date made Cast in 2011
Country: Bulgaria
h 66 cm. x w 15 cm. x d 12 cm., 3.400 kg.
glass /cast glass/, grinding, polishing, gluing.
I imagine that I live at the top of the tower of a Gothic cathedral. I look at the world from above. I see the lights of the big city. I can’t see the people, because they are hidden in the distance. I am alone with myself. And I suddenly realize that I am at the foot of the tower that I built in my mind.
web site: www.yuryvassilev.com
Figures inspired by people on summer holiday
Open cast Bullseye Glass
My work is inspired by an interest in mythology and the patterns of connection between the natural and human worlds. Metaphor and surreal imagery are particularly important in my process. I am intuitively drawn to certain symbols and creatures, and these lead to the development of my three-dimensional forms.
Description: pate de verre, form cast from recording of Solfeggio frequencies
Date: June 2012
Country: Romania
Description of Work: the "Book of signs" represents the human body like a open book to the world. The body is a filter between the interior and the exterior world, living in two dimensions at the same time. The body is made of cast glass and it's covered with engraved broken glass parts, symbolizing the fusion between the body and the visual elements of the real world.
Dimensions of the piece: 25x35x165 cm
Data made: May 2012
Description: Ammonite is 50cm high and 50kg in weight. Open cast in Banas glass. Fossil hunting on the North Yorkshire coast inspired this piece.
Date made: December 2012
m: 0784 3781278 www.desireehope.com
Country: Spain
Description of word. - Bullseye Black and clear glass, casting technique, cold worked.
Date Made. - May 2012
Country: USA
Lost wax casting using Gaffer lead crystal. Size is 6" x 13" dia. (15 x 33cm)
December 2012
tel. 901.867.7300
mob. 901.210.8193
fax 901.867.7843
www.powerhammers.com
info@brianrussellstudio.com
www.brianrussellstudio.com
Country: USA
Cast Glass, High Temp Enamels, Styrofoam, Shrink-wrapped
Date:2012
Country: Canada
Date 2012
Description = sand cast glass, 26 cm high, gold leaf on the back.
Country: Australia
Bullseye glass 30 X30 X5 inches, 40 kgs
This piece was a pate de verre casting using bullseye glass and precast
inclusions.
Nudibranch Art Glass
www.australianartglass.com
Country: Russia
Sandcasting Portrait of the Leader
The work represents the new opportunities for artist to work with the symbol of the global proletariat, that was previously absolutely intolerated in the Eastern Bloc
Date - 2012
Country: Israel
Cast crystal glass.
18 cm height, 26 cm width, 15 cm depth.
June 2012.
Country: Dallas, USA
Medium: Pate De Verre
Date: Jan, 2013
shannonbrunskill.com
Country: Florida, USA
Pate-de-verre. Glass powder surface with a fine frit interior. A low temperature firing maintained the sugary texture of the interior. Breaking the surface of the piece are needle-felted beads. Drilled, wet belt sanded, hand polished, needle felting.
Date: 03/2012
Jayehouleglass.com
Sheets of coloured glass fused in an open refractory mix mould.
I have taken inspiration from the humble brick, looking at walls and the art of the perfect fit. I am fascinated by the ways in which different cultures have used bricks and stones for building. The simple yet ingenious corbel arch and the impossibly precise fit of the stones in an Inca wall. My bricks have been taken out of context and interpreted in glass as a colourfully constructed art piece able to stand alone away from the anonymity of the wall.
Date made: March 2012
Country: USA
Description: This work is a series of cast and polished a-symmetric objects. The material cast is refuge and recycled television glass tubes and screens using the lost wax casting process.
Aesthetically the work is reminiscent of the growth structure that is quartz or other similar precious/semi precious geological formations, and the concept of the work originates in the literature of British 20th.c. writer J.G Ballard, particularly his book 'The Crystal World', which draws on themes of an impermanent, parasitic and apocalyptic nature.
This Work is both a nod and a physical interpretation of this writing. It is one of many different sculptural outcomes, of which all intend to evoke contemplation regarding the themes mentioned and specifically what that means to us and what our responsibilities are, if indeed any as a species.
Date made: July 2011 through to June 2012.
Country: Scotland
This is a bas-relief of three generations- A grandfather, the fecund young female, and the granddaughter. Made from Edinburgh crystal in 2005
Country: Spain
Description of Word : Corning glass cast in silice moulds
Date Made : 2002
Country: Switzerland
Cast Glass with window,on metalstand. Size of glasspiece: h 46 x w 46 x d 8 cm
Date made: May, 2012
Country: Sweden
“A heavy burden, a millstone around her neck . The literal hanging of a millstone about the neck is mentioned as a punishment in the New Testament (Matthew 18:6), causing the miscreant to be drowned.”
Views of Coercion deals with female stereotypes, and the difficulty of living up to today’s ideals and ideas about femininity. Since I started working with glass six years ago, I have gone from (in my own eyes) a feminine girl to a butch worker; a change that hasn’t been entirely easy to reconcile with.
By placing myself in the role of the ballerina, one of the most prominent female stereotypes there is, I explore both my own identity as a craftsperson, as well as the norms and conventions of my gender. Around my neck is an interpretation of a millstone, inspired by the expression “hanging like a millstone around one’s neck”. I use it as a metaphor for the feeling of being burdened by ideals of how one should look, and not being able to live up to it.
The work consists of 18 kilos of clear, cast crystal and brass chain, presented on black plexi glass plinth together with a photographic print, 100x140 cm, mounted on black PVC.
Date made: January 2012
Website: www.matildakastel.com
Country: Spain
Casting Corning Glass / 2002 / Barcelona
21 x 29 x 7 cm
Country: Romania
http://ilinca.bloguest.com/sticla-mea/
Details: Cast glass, 18x17x16,5 cm; 2009
Description: This work is a result of a very inspirational walk I had few years ago in a Bavarian forest (from here the other title,
Bayerischer Wald, that is the German for Bavarian forest). It was a beautiful after rain summer day in mountains and all the forest
was filled with greenish air, humidity and exultation of plants and insects. The lively vegetation in all its forestry diversity,
from mushrooms to young sprouts and delicate blue flowers growing from the very hart of the rotten tree stumps, was
taking over the old leaves and fallen branches; the dead material was nothing but the nourishing ground for the new and
careless growing life. And all that was naturally coming, so totally indifferent to any moral or philosophy or any other human
reason that I suddenly understood that the forest was the true and real image of the eternal life cycle, utterly indifferent to
any human presence or its definitive absence. The forest and its life - and death as a part of it - could go on here endlessly
how little important I am and how not at all needed are we in this life and death spinning process.
The forest had taught me wisdom and humility. I see myself now as just a ephemeral life form trying to see enough beauty
and to catch a gentle ray of light before disappearing. I don't know if my work can tell to other people this story of mine.
But I am pleased if anyone could find in it a little ray of light for his or hers personal needs.
Black cast sheep skulls on driftwood
For more details visit
www.glasstastik.co.uk