Statements and Questions-An exhibition of glass sculpture from mainland Europe
Monumental pieces shot through with light, witty installations, and forms – both ethereal and confrontational – that play with the protean qualities of glass….sculptures beautiful and challenging are the stuff of the Contemporary Glass Society’s first-ever online exhibition devoted to work from mainland Europe.
Guest curator Pilar Aldana-Mendez has selected a stunning range of glass sculptures, choosing work that reflects the possibilities of form, colour, light and space unique to glass.Born in Bogota, Colombia, Aldana-Mendez has lived and worked in Barcelona since 1985, when she started her sculpture studies and was later invited to develop glass projects at the Barcelona Glass Centre.
She creates site-specific and small format sculptures and installations, working with glass, stone and wood, as well as light and sound effects. She has placed more than 40 monumental sculptures in natural areas and outdoor museums in Europe, Africa and America. She also teaches specialised sculpture, speaks at conferences, writes articles for magazines and blogs, and has created videos on sculpture techniques. She organises events in Barcelona as part of the oh!BCN group, has been cultural manager for the Catalan Glass Art Association (ACAV) and is an active member of several international glass and sculpture associations. www.aldana-mendez.net
technique: fused glass, 84 x 25 x 50 cm
owner: Jena, Germany. Art Collection of the City
Size: 10cm x 10cm x 4 cm
Technique: Casting and cold work in combination with glass, metals, enamels and oxides
Context: Memory and the similitude of water and glass
Casting glass, lost wax process, polishing
Size 21 x 18 x 17cm
Dimensions : Glass Plates with gold 500 mm and 300 mm & 170 mm on crystal stands.
“A protective mask on the face, provided with a clamp with two teeth, Grzegorz Gurgul plunges into the furnace and extracts the crucible containing the molten glass at high temperature. He immediately goes to the large central table and there pours the precious fluid which spreads rapidly, taking the form of a perfect record solely because of viscous tensions. In direct contact with the metal table, the glass cools quickly and there is already color gradients between the edges and center of orange disk. That's when the scissors cut the umbilical cord between the glass plate freshly poured and the crucible, while the wooden shovel is used to move it to an oven at 500 ° C. This ensures that the annealing has the effect of exalting the colors. There then follows a slow controlled process of cooling to room temperature, which can take two to three days.
The choice of basis, the proportions of sand, oven temperature, heat treatment, wood burning and the presence of ash in the combustion space, all these are all parameters that will influence the transparency of glass and color. This art came from the mists of time is experienced intensely by Grzegorz Gurgul. The passion and talent and drive it is successful in reviving an ancient tradition, steeped in expertise and patience in an increasingly automated and pressed. The workshop Grzegorz keep for me the image of a space disconnected from the world and very poetic”.Email: email@example.com or firstname.lastname@example.org
Size, H. 28.cm x Diameter, 35.cm.
Description of work, Fused, Glass treats and Glass powder. Pate verre.
Context for this show, In this classily shape, i have put two type of skin together, the outsite skin; is more a muddy earthly rough feel to it and the inside skin; is more a gentle felt look.
My work is all about; Tactility, sensibility.
Contact email, email@example.com
Description of work: Open-casted Royal Leerdam lead crystal with copper oxide and copper foil inclusions.
Most of my work is about trapping statements or thoughts in glass. I love mucking about with copper inside glass.
I work it directly into clay models but it's a pig of a job digging out the clay from the the mould.
Size: H18 W21 D5 cm
Measures .- 450 m/m X 450 m/m X 800 m/m
Sand-cast glass, thermorming and cold -worked
Bullseye Glass Opal
Description : Hot sculpted blown glass, urane, UV light creating fluorescence
Title of work : Last one shut off the light...
Year : January 2011
Size : variable, real size, 200 cm x 100 cm approximately
Email : firstname.lastname@example.org
I paint on layers of glass and assembles them in stacks, laminating them together to create cube forms. The cubes are cut and polished to perfection. Sculptures in the series, "Where the Shark Bubbles Blow", are made from 35 layers of painted glass. For this pieces, I paint a circle shape on the surface of each thin layer of clear glass. Made of thousands of very fine brush strokes of varying tones, the painted circle creates a wonderful aqua blue. The circles on each layer recede or expand in size gradually and when seen together form a miraculous three dimensional globe, which seems to be suspended in the cube. The painted globe is reflected on the planes of the cube, duplicating itself partially and in one view it disappears entirely - in a dizzying display of optical illusion and geometry as art.
2011 23x23x23 cm
Casting of corning glass with sandblasting and cold work.
I find the glass as the material that allows me going beyond the limits of space.
Working with this material is possible to see the soul of the piece and how it flows through the exterior using the light, textures, or images.
The scale and proportion of the form, like in architecture, creates the unity of the piece with the space that surrounds it becoming all in one being.
The magic starts when you have to decide the process to get the effects you want and how it will become in to reality. It´s like a metamorphosis of materials.
SIZE: 10 cm x 9,5 cm x 10 cm
CONTACT EMAIL: email@example.com
size: installation composed of 70 elements, 2 x2 meters
technique: blown glass
description: These bubbles are blowned on an earth-mold.The mold is in the form of the earth, the ground. My breathe is inside the bubble. The breathe, the air, the atmosphere. The earth breathe.
Size 14 x 7 x 3 cm
Kilnformed Pate de Verre Sculpture. Handformed with wax with inclusion of natural leaf and copper elements. Coldwork only on the base. Ivory color Bullseye glass. Unique piece.
Size: Installation of 3 components. Each H.20 x L.30 x W.46 cm.
Extra clear float glass, handwritten text in grisaille, static casting, slumping, ground and polished.
The life cycle is based on the mineral world. The stone is the basis of biological development. They are not inanimate, in absolute terms there is nothing inanimate in the Universe.
Contact email: firstname.lastname@example.org
Size: 30 x 20 x 25 cm.
casting and slumped glass
Disertation about space inside-space outside related with the idea that any assertion leaves a door open to multiple questions inside us.
Contact mail: email@example.com
Size: 32 x 10 x 12 cm.
Technique: blown glass
Transcending the usefulness of a container by filling it with color and making of this color an illusion of spatial abil
Contact mail: firstname.lastname@example.org.
Technique and description: "Buds" is formed by 7 blown glass pieces, 3 of them having colored inclusions inside. The approximate height vary between 10-17cm; width: 6-8 cm.
"Buds" is part of the "Miracle of Life" cycle. This cycle is issued from one of my major obsession: the existence of life on Earth. I think that I will continue to work on it probably for my entire life. There's no greater miracle, I think, than the existence of life on our planet. For us, living entities, life is probable the most fortunate event that has been developed by chance on our little planet as peculiar fragment of the endless process of the cosmic swirl. I try to catch and reflect in my work the miracle of life. Glass as a fragile still robust material with its unique qualities is suitable for representing life forms. They both can take an infinite number of shapes, but also both share fragility, delicacy and yet an incredible strength.
Year - 2012
Size - 40 cm W x 38 cm H approx.
Description of work ( For this work I used a strip-cut construction technique, strips of glass are cut and assembled on edge, rather than laid flat. The glass used for this work is Spectrum 96 fusing glass.
'The Continuum Concept' which draws on the work of Jean Liedloff, who proposed that as a result of evolution human beings have innate instincts or intuitions that help us to achieve optimal social, mental, cultural and emotional development. These instincts are challenged in our own time by the modern technologies and networks which have have transformed contemporary design. My work raise question about balance between intuition and technology in today's society.)
Contact email - email@example.com
Size 40 cm
Size: 10mm glass, - 1.60cm high. Variable distances between each figure.
Description of work: An installation of 11 “Divers” in the centre of my exhibition “Flying Figures”, in the Victoria Art Gallery, Bath, 2011. Each figure is water jet cut float glass, acid etched, silver stained and painted with enamels. Set on high plinths at varying heights.
Contact email: Eisch.firstname.lastname@example.org
The work was created for the "Jahresausstellung/2012" which is going every year in Munich Fine Arts academy.
The work is 3,20m x 0,8cm, is made of 3 layers float glass on which using black glazes were painted stripes. They has diferent angle and creates moving effect. The work changes with moving of the viewer.
H : 38 cm. L : 90 cm. w : 45 cm.
The sculpture takes its impetus not from the ground, but the heart of the movement. It is certainly not a fly, but it is entirely open in the movement, the extent and duration.
Its material is rather an allusion that presence. Its volume confuses the concepts of lightness and inertia in a kind of antimatter. By its gritty texture, made of drops of molten glass, it provides in its thickness the transition from darkness to light, soil in the sun, moments that are strung. Congregating in space as seeds, will work hard both to gravity that time.
year : 2012
size : 68 x 25 x 6 cm
Glass sculpture using lost wax and open casting techniques in gaffer glass.
My inspiration for this piece was to create an statement piece which is an assemblage of sculptural parts each representing the various aspects of glass working required to achieve the final outcome. I am sure this will strike a chord with every glass artist...
I created the head and part torso in clay and then in plaster/silica. These were used to make the glass casts. The words and half torso were created in wax. The MIND and the holographic Head cast represents the creativity and design ideas at the start of any artistic process. With glass working there are various physical aspects represented by the half torso and (BODY) cast. Lastly every piece has a little (HEART) and (SOUL) as it is created with passion and love of the material.
It is a time consuming process and I am often asked why I do it ………..simple answer “for the love of Glass”
I started working with this series in 2000 and it is still one of my favorite series that I do. I still produce new work in this series, but the photograps of the more recent work in this series, is not as good as these ones. I am currently working on new pieces and will have them photographed sometime in October/November.
Size:" Elixir of Life, series 4":
h 17/19cm, diam 12/15cm
Process: Free blown bowl with red underlay. Torch applied surface texture and gold leafed inside surface. Cut and polished.
Made in collaboration with Wilke Adolfsson, Sweden.
Size: 40X30X15 cm
Technnics and material used: pâte de verre ( the monuments: tour Eiffel and olimpic stadium of Montréal), glass blowing, the hamac is in sterling silver, attachs in leather.
Concept and vision: Our artistic visions, our characters and our knowledge have all given birth to our common goals enabling us to have a rich and open mind towards ``the other``; Travel and Games (strategy).
``Viens tant, Vas temps`` is our second collaboration, created especially for the 2011 Strasbourg biennial in the European Glass Prize competition. The theme for the competition: No limits - this has enabled us to work differently from the usual standards. We have been able to encapsulate two cultures into one imaginary trip to suggest distance. A very intimate distance: The hammock represents our nest, symbolically linked by two ropes 8,000 Km long – the distance between the two capitals Montréal (Olympic stadium) and Paris (Eiffel tower).
The game here is to see inside the baggage, and the travel is to eliminate the distance…… to join together, to exchange and to create.
Our cooperative work is result of the fusion of our two artistic approaches from our two different cultures. Travel as an opener and the exchange as the play (strategy)
H 42 cm W 20 cm D 27 cm
blown borosilicate glass, rubber, epoxy
SIZE: 80X35 cm
The work is placed horizontally, consists of three main modules, and inside there are lots of pieces of eached glass. The work engravings represents symbols that together describe the character's moments in life.
FUSED AND ENGRAVED GLASS
THIN BLOWN GLASS
2014, Solstice d’été
Casting : Crystal, water, oil.
Furtive poetic contemplation, defining a space silent and meditative on the relationship of man versus nature and himself.