RESEARCH

ABSTRACT

Glass is a unique material that can exhibit degrees of transparency and depth, merging colour, form and light. This is evident especially in contemporary Czech glass practice, with Stanislav Libensky and Jaroslava Brychtová leading the way. Their cubist-influenced solid cast glass sculptures display mastery through the merging of colour, form, space and light. The challenge in achieving such results lies in the understanding of the optical properties of glass, and in the composition of the material. Commercially available casting glass not only comes in a limited range of hues, but is developed for small to medium sized objects and often appears very dark or black when used for large casts. If diluted with clear glass, the result will be streaky. Glassblowers can create colour in their studio furnace, but such equipment is not usually available to kiln casters.

During my Master’s studies, I began making my own glass colour from raw materials in the furnace, to achieve subtle variations in hue and colour tone and to retain luminosity and transparency in substantial solid glass objects. I realised that I would need to gain extensive empirical knowledge to consistently achieve good results. However, as a working artist running a studio, it would be a substantial drain on time and financial resources to run experiments before casting each sculpture.

My research aims to contribute to the practice of kiln casting by enabling practitioners to produce bespoke colours and to adjust colour tone to their needs. 

The research aims are:

• Development of a feasible process for studio-based glassmakers to create coloured glass in a kiln.
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• Development of a range of alternative glass colours, including subtle variations and polychromatic colour (colours that appear different under different light sources).
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• Investigation of the relationship between colour and volume in a transparent body, and development of a way to calculate the amount of colour needed to achieve desired results.
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• A body of work in dialogue with this research, both testing results and pushing investigations in new directions.

As there are no established processes for testing glass colour, testing methods had to be developed. A process for basic colour tests has been established, taking into account speed and energy effectiveness. A process for colouring glass in a kiln has been developed, as well as a simple method for using this glass for kiln casting, whereby a crucible with coloured glass is cooled down, then returned to the kiln upside down and suspended on top of a plaster-silica mould, acting as a reservoir. Using the information learned from basic tests, larger colour tests containing thick-thin variations are produced using this method.

A systematic study into colour density for solid glass objects is being carried out, investigating the relationship between colour and volume in a transparent glass body, both by evaluating existing glass objects and creating new ones.

A visual vocabulary for the purpose of exploring the qualities of volume colour is being established. Iterative colour tests have been carried out, with special emphasis on polychromatic colours - glass containing Neodymium oxide, which changes colour when the ambient light changes. By combining Neodymium oxide with a range of other colouring agents, various colour shifts can be achieved. In these glasses, the colour hue as well as the colour tone changes depending on volume. A database has been set up, recording the test results. A personal colour palette is being been created and explored.

The project will culminate in a body of work exploring the relationship between colour, light and form. The written component will contain contemporary and historical context, including visual examples, a chapter on perception and optics, documentation of process, and an evaluation of the body of work.