with glass sculpture
Rhode Island-based glass artist Claire Kelly creates adorable animal sculptures out of glass that connect to serious issues concerning the environment. Balancing on balls and standing precariously in boats and on peanuts, the little birds, giraffes, and elephants invite viewers to consider the fragility of the world and how micro-level choices can have a major impact.
Kelly tells Colossal that the series of animal sculptures began in 2014 after a hiatus from her other work. The works were born from drawings and sketches she made as a creative outlet. Working with colored strips of glass called cane, the process and materials affect the size of the final pieces. The cane allows for complex patterns, but in preparation for the glass blowing process they need to be heated on a flat kiln shelf. “The size of the kiln shelf plays a part in how large the final glass piece can be,” Kelly explains. “The larger the shelf the heavier it is and the larger team and heating chamber I need to have.” While she does occasionally work at a larger scale, the artist says that size is not the most important factor because she is inviting viewers into “an intimate microcosm.”
Although she works with easily recognizable animals, Kelly’s use of color and pattern adds an imaginative element. “Depending on the animal and form I try to use colors that come right up to the edge of being conflicting but somehow work together,” she explains. “Color is so emotionally charged and I often find myself getting really happy when using certain colors in combination…I experiment a lot and have a sense of how some colors react to their neighbors. There’s a really sense of harmony and balance that I look for when planning a color scheme.”
As Kelly has continued to explore representational themes in her work, she shares that her has recently been inspired by creating multiple related pieces in a tableau. “It’s modular and adds interest from a design standpoint,” the artist shares. “I can create forms that interact with each other while telling a story about their little world.” To discover more of Claire Kelly’s colorful creatures, follow her on Instagram.
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Glass artist Laura Hart (previously) uses a range of techniques to translate her love of plants and animals into meticulously crafted sculptures. For her “Butterflies” series, the artist has recreated rare species and subspecies from around the world with bright colors and symmetrical designs that perfectly mimic their natural muses.
Never recreating the same species twice, Hart casts the bodies of her one-of-a-kind insects using the lost wax molding and pate de verre kiln casting processes. Each delicate sculpture is around 18cm wide. A glass fusing method is used to make the realistic wings in stages, with intense hues and translucent sections outlined in black. The sections form tiny stained glass windows, altering the light that passes through and reflecting onto the tables and display stands. Sterling silver pieces are added to complete the sculptures, forming the legs, antennae, and proboscides of the colorful creatures.
To see more of Laura Hart’s glass works, check out the artist’s Facebook page.
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Thousands of Shards of Glass Imitate Blurred Motion in a Towering Public Sculpture by Costas Varotsos
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)
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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.
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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)
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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.
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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.”
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.
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.”
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