glass sculpture

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Art

Thousands of Shards of Glass Imitate Blurred Motion in a Towering Public Sculpture by Costas Varotsos

December 5, 2018

Kate Sierzputowski

First completed in 1988, Dromeas or “The Runner,” is a 40-foot-tall public sculpture created by Greek artist Costas Varotsos. The densely layered work is formed from thousands of jagged shards of greenish-grey glass which are stacked around iron in the formation of a runner in motion. Originally the piece was installed in the Athens’s Omonia Square, but due to fear that it would topple from underground metro vibrations, in 1994 the city moved the piece to Megalis tou Genous Sholi square. When designing the sculpture, Varotsos considered which types of movement occur in these public spaces and how they might impact the viewing of his work.

“The position of people on the square is never fixed,” he explains. “As is the case with every city, here, too, objects and buildings are things you see while in motion. Rarely do you stop to look closely at something. Individuals observing the sculpture do so at two speeds, depending on where they are on the square: walking on the sidewalks or driving by in a car. The kind of space operating here is not only a purely visual one, but also one open to the sense of touch; one generating a tactile sensation.”

The ambiguous figure is meant to capture the exact moment one finishes a race—be that a literal translation of a marathon, or a more loose interpretation of conquering a challenging moment. You can see more of Varotsos’s public sculptures on his website. (via Atlas Obscura)

 

 



Art

Biology and Philosophy Inform Kim KototamaLune’s Delicate Sculptures Made from Grids of Glass

July 19, 2018

Laura Staugaitis

Garden Micro-Organisms

Glass artist Kim KototamaLune creates ethereal sculptures that resemble abstracted organic shapes and faces. She builds delicate glass grids without molds, which she then works into sculptural form and displays in darkened rooms. This presentation allows light to permeate, which both illuminates the sculptures from within and casts dramatic shadows on the surrounding walls.

The artist was born in Vietnam and now lives and works in France, and has studied multiple languages. Cultural identity, the origins of life, and in-between spaces play into her inspirations.  KototamaLune shares with Colossal that she seeks to create an “uncharted territory in order to engage in a silent dialogue with the ‘strangers’ living in us. Those sculptures arise from the will to recover within each of us what is common in our fetal origins.'”

KototamaLune is represented by Da-End Galerie, with whom she’ll be showing work at the ASIA NOW art fair in Paris from October 17 – 21, 2018. You can also see her work through September 15, 2018 at Villa Tamaris Art Center in southern France. Discover more sculptures in KototamaLune’s portfolio on her website.

Garden Micro-Organisms, alternate view

Bourgeon Ancetres

Le Silence Du Nom

Le Murmure

Crepuscule Des Ames 

Left: Memoire Eden Garden / Right: Ombre Lointaine Des Reves Primitifs

Odeurde La Lune

Entre Deux

 

 



Art

Incredibly Intricate Glasswork by Janis Miltenberger is Inspired by Mythology

June 11, 2018

Laura Staugaitis

Cynara’s Lush Gift, Photographer Peter Kuhnlein @ACME Creative, bee created by Wesley Fleming, 35”H x 11”L x 11”D. All images used with permission of the artist.

Glass artist Janis Miltenberger draws on the roles of mythology and storytelling as attempts to explain our experience of the world to build complex glass sculptures. Her work often takes the shape of recognizable objects, like human figures and chairs, which are then filled with incredible detail. The artist uses borosilicate glass, and enhanced with glass colors, gold luster, sandblasting, and oil paint. 

Miltenberger shares with Colossal that she was originally drawn to ceramics, and discovered glassblowing in college, where she apprenticed with Richard Marquis. Many years later, she was introduced to lampworking, which is her preferred technique today. She explains, “working alone with a torch was more personal and I don’t think I was quite as aware at that point how I needed that space set apart to focus and identify my ideas and voice.”

The artist’s most recent series, “Doctrine of Signatures,” is based on The Signature of All Things, a 17th century book by Jakob Boehme which detailed the commonly-held belief that the outward appearance of a plant reflected its medicinal value. She is currently working on a large installation that moves away from her decorative style. In fall 2018, Miltenberger will be teaching in Niijima, Japan, and her work will be shown at the Bellevue Art Museum in Washington state. (via Lustik)

Cynara’s Lush Gift (detail), Photographer Peter Kuhnlein @ACME Creative, bee created by Wesley Fleming, 35”H x 11”L x 11”D

Golden Memory, Photographer Peter Kuhnlein @ACME Creative, 35”H x 11”L x 11”D

Golden Memory (detail), Photographer Peter Kuhnlein @ACME Creative, 35”H x 11”L x 11”D

Doctrine of Signatures, Photographer Lynn Thompson, 38″H x 14″W x 13″D

Doctrine of Signatures (detail), Photographer Lynn Thompson, 38″H x 14″W x 13″D

Golden Tinged Hope, Photographer Lynn Thompson, 84”H x 24”L x 13”D

Golden Tinged Hope (detail), Photographer Lynn Thompson, 84”H x 24”L x 13”D

Dividing Line, wall piece, Photographer Peter Kuhnlein @ACME Creative, 34”H x 16”L x 4.5”D

Dividing Line (detail), wall piece, Photographer Peter Kuhnlein @ACME Creative, 34”H x 16”L x 4.5”D

Quiet Breath, wall piece, Photographer Peter Kuhnlein @ACME Creative, 30″H x 20″L x 4.5″D

Quiet Breath (detail), wall piece, Photographer Peter Kuhnlein @ACME Creative, 30″H x 20″L x 4.5″D

Quiet Breath (detail), wall piece, Photographer Peter Kuhnlein @ACME Creative, 30″H x 20″L x 4.5″D

 

 



Art

Metal Utensils Precisely Embedded in Vintage Canning Jars by Jennifer Halvorson

June 11, 2018

Kate Sierzputowski

Detail of "Waste not want not," Jelly jars, cutlery, stainless steel, 8.75 x 16.25 x 9 inches, photo credit: Elizabeth Torgerson-Lamark

Detail of “Waste not want not,” Jelly jars, cutlery, stainless steel, 8.75 x 16.25 x 9 inches, photo credit: Elizabeth Torgerson-Lamark

Glass artist Jennifer Halvorson manipulates vintage canning jars into sculptural portraits tied to memories of making fruit preserves with her family. The antique vessels are each imbedded with utensils that fit perfectly into indentations pressed into the side of the glass objects, and placed in arrangements that connect to her personal narrative.

To create the works, Halvorson slowly warms the jars and then attaches them to a metal rod. After raising the temperature of the pieces, she then carefully torches one area and delicately presses a metal knife, spoon, or fork into the soft interior. “The result of the transformation allows the cutlery to fit perfectly into the jar, showing an active presence within the nostalgic object, but with the absence of a person,” she tells Colossal.

Halvorson has begun to make her own glass jars through rubber molds, wax molding, metal casting, and hot glass blowing molds for her series Preserve Words. Five pieces from this series will be included in the group exhibition Reflections at Momentum Gallery in Asheville, North Carolina from July 1 to August 25, 2018. You can see more of Halvorson’s glass interventions and sculptures on her website.

"Waste not want not," Jelly jars, cutlery, stainless steel, 8.75 x 16.25 x 9 inches, photo credit: Elizabeth Torgerson-Lamark

“Waste not want not,” Jelly jars, cutlery, stainless steel, 8.75 x 16.25 x 9 inches, photo credit: Elizabeth Torgerson-Lamark

"What's good for the goose is good for the gander," Jelly jars, cutlery, dried flowers, wood frame, 22.5 x 29 x 4 inches, photo credit: Elizabeth Torgerson-Lamark

“What’s good for the goose is good for the gander,” Jelly jars, cutlery, dried flowers, wood frame, 22.5 x 29 x 4 inches, photo credit: Elizabeth Torgerson-Lamark

"Perfect Influence," Blown glass, tatted lace, found objects, 9.5 x 9 x 6 inches, photo credit: Serena Nancarrow

“Perfect Influence,” Blown glass, tatted lace, found objects, 9.5 x 9 x 6 inches, photo credit: Serena Nancarrow

Detail of "Perfect Influence," Blown glass, tatted lace, found objects, 9.5 x 9 x 6 inches, photo credit: Serena Nancarrow

Detail of “Perfect Influence,” Blown glass, tatted lace, found objects, 9.5 x 9 x 6 inches, photo credit: Serena Nancarrow

"From small beginnings come great things," Jelly jars, cutlery, flame worked glass, stainless steel, 12 x 16 x 6 inches, photo credit: Elizabeth Torgerson-Lamark

“From small beginnings come great things,” Jelly jars, cutlery, flame worked glass, stainless steel, 12 x 16 x 6 inches, photo credit: Elizabeth Torgerson-Lamark

Detail of "From small beginnings come great things," Jelly jars, cutlery, flame worked glass, stainless steel, 12 x 16 x 6 inches, photo credit: Elizabeth Torgerson-Lamark

Detail of “From small beginnings come great things,” Jelly jars, cutlery, flame worked glass, stainless steel, 12 x 16 x 6 inches, photo credit: Elizabeth Torgerson-Lamark

"Genuine Relation," Blown glass, cast bronze, found objects, 6.5 x 10.5 x 6.5 inches, photo credit: Serena Nancarrow

“Genuine Relation,” Blown glass, cast bronze, found objects, 6.5 x 10.5 x 6.5 inches, photo credit: Serena Nancarrow

"Supreme Endeavor," Blown glass, cast glass, found objects, 9.5 x 22 x 9.25, photo credit: Serena Nancarrow

“Supreme Endeavor,” Blown glass, cast glass, found objects, 9.5 x 22 x 9.25, photo credit: Serena Nancarrow

Detail of "Supreme Endeavor," Blown glass, cast glass, found objects, 9.5 x 22 x 9.25, photo credit: Serena Nancarrow

Detail of “Supreme Endeavor,” Blown glass, cast glass, found objects, 9.5 x 22 x 9.25, photo credit: Serena Nancarrow

"Good Luck Impulse," Blown glass, cast iron, found objects, 9 x 4 x 4.5 inches, photo credit: Serena Nancarrow

“Good Luck Impulse,” Blown glass, cast iron, found objects, 9 x 4 x 4.5 inches, photo credit: Serena Nancarrow

 

 



Art Design

Luscious Handmade Glass Orchids by Laura Hart Reflect Plants’ Exotic Beauty

May 17, 2018

Anna Marks

Glass Miltonia Orchid

Colorful orchids, identical in size, bloom in UK artist Laura Hart’s studio. From their bilateral symmetry to their splashes of pigment, the glass designer’s perfectly crafted forms illustrate the strange exotic beauty of the plant species. With their soft and fleshy glass petals, Hart’s botanical sculptures appear as fully bloomed flower heads, each of which has a different pattern to reflect the diversity of the species. “My fascination with orchids spans decades and at one point I had nearly seventy in my conservatory,” Hart tells Colossal. “The explosion of color and perfume during the flowering months intoxicate the senses.”

Hart’s route to making glass sculptures has been a convoluted path alongside many creative pursuits. “Beginning with oils and canvas at around the age of twelve, treading the boards at seventeen, video production in my twenties and thirties, heritage building renovation, 3D animation design in my forties, and, at last, the glorious world of glass in my fifties,” she says.

Hart was unexpectedly brought to glass when asked to design a sculpture in steel and glass for a concept artist, and hasn’t looked back since. “I needed to better understand the glass making process in order to achieve the design, so I observed some wonderfully talented glass artists at work. I was utterly captivated and there the obsession began.”

Glass Phalaenopsis Orchid

Each flower is about twelve inches (thirty cm) in diamteter, and takes Hart up to ten days to make. She tries to recreate the species as faithfully and authentically as possible, whilst imbuing them with her artistic interpretation.

The artist creates orchid-shaped moulds using 3D modeling and animation software. “The templates for each flower are animated into shapes to simulate glass flow within the kiln to ensure that every flower will slump into the correct shape without stressing the glass in the process,” Hart explains.

Glass Fuciflora Bee Orchid

Hart then cuts each petal individually and uses glass powders and frits for the first firing. “Veining is then applied from hair fine strands of glass created by pulling thin shards of glass through a flame.  There can be as many as six firing processes to achieve the final result. The flowers are then sandblasted to create a satin sheen, and coated with a waterproof spray to bring out the color and prevent finger marks.”

The three-dimensional details in Hart’s glass orchids are added from cutting sheet glass which are applied to the petals and re-fired. “Once all the detail and color is applied to each petal they are fused together to create the flat flower shape. Finally, the flower is placed on the mould and fired to slump position.”

To view more of Hart’s delicate floral sculptures visit her website, Facebook, and Twitter.

Glass Caulocattleya ‘Chantilly Lace’ Orchid

Glass Ballerina Orchid

Glass Oncidium Orchid

Glass Phalanopsis Lindenii Orchid

Glass Thelymitra Pulcherrima Orchid

Glass Vanda Loki Orchid

Glass Phalaenopsis (moth) Orchid

 

 



Art

Lustrous Glass Sculptures by Julie Gonce Mirror the Beauty of Natural Forms

May 7, 2018

Anna Marks

"Ô mousse!," all images provided by Julie Gonce.

“Ô mousse!,” all images provided by Julie Gonce.

French artist Julie Gonce's artworks imitate the beauty and detail of natural forms—budding flowers, moss growing within fallen branches, and dew delicately balanced on strands of fresh grass. Gonce has been creating her glossy sculptures since 1997, and uses her torch similarly to how a conductor uses a baton—with precision, passion, and timely delicacy. Her sculpted forms ask the viewer to be attentive to our changing planet, and to notice how beautiful and bountiful nature is as it continually replicates.

Gonce was raised around artists who ignited her creativity and influenced her to create unique work. “I grew up surrounded by artisans and artists, and I quickly discovered that I wanted a hands-on profession,” Gonce tells Colossal. “I chose glass by chance, but when I did a glassblowing training course I was immediately drawn to it.”

"Un peu de vert dans ce monde à l'envers"

“Un peu de vert dans ce monde à l’envers”

"Triptik Credit: Boris Selkie"

“Triptik Credit: Boris Selkie”

Gonce is passionate about preserving ancient French glassmaking techniques and uses traditional methods including glassblowing, lampworking, and glass beadmaking. When glassblowing, Gonce brings a rod of glass up to the required temperature and blows air into it to create a voluminous shape. Her lampworking involves two rods of glass which are brought together and stretched and sculpted into a chosen object. She then uses a glass beading technique which involves winding molten glass around a metal rod which she then cools and draws glass beads from.

"Brins de folie au creux d'un arbre"

Using two different types of glass (borosilicate and soda-lime), Gonce fuses her sculptures with natural forms: wood, seeds, mushrooms, paper, textiles, metals, bones, and even feathers. “Stitching is present in all of my sculptures, that’s how the materials are bound,” she explains.  

Torchworking requires Gonce to be in perfect command of her body; by being aware of her breathing and movements she can create various shapes in molten glass. “At the heart of all of my creations, there is always the pleasure of seeing the flame and the glass melting,” says Gonce. “What I love about glass work is that there is nothing between the glass and the flame but the torch worker’s hands.”

"Spadices"

“Spadices”

"La palme"

“La palme”

Gonce’s relationship with the natural world is the source of her artistic inspiration, which provides her with a means of escaping everyday life. She gains motivation from living near a forest where she is constantly surrounded by ever-changing textures and lustrous colors which is reflected in the detail of her designs. “I need to live close to nature since it is my source of inspiration,” she says.

Gonce’s manipulation of glass creates movement as light dances upon her sculptures, much like how light ripples amongst flowers and plants swaying in the breeze. Gonce is currently exhibiting her sculptures at Galerie Collection in Paris alongside other several other French artists’ work. The exhibition runs until early 2019. You can see more of her pieces on her website.

"Mycorhize"

"Digitale brune"

“Digitale brune”

Detail of "Ô mousse!"

Detail of “Ô mousse!”