My glass art process and technique applied at different stages to current glass sculptures in progress
With all my pieces (whether glass or wood), I’ve always sketched the outlines of the design I “see” in my mind
This is my #27 sculpture from wax cylinder to the piece back from the foundry, needing coldworking – grinding, sanding & finishing.
This is a replacement piece for #26 which failed during casting. The #26 mold blew out, and, instead of the original 30 inches tall by 11 inches diameter, I only got the lower 14 inches of the piece. (The kiln cast glass art process and technique are not foolproof! I suspect the size/weight/pressure of my glass pieces in the kiln have literally and figuratively begun to push the envelope.) That 14″ segment has promise and I may cold work it some day, but not now.
Instead, I liked the original design and decided to have a second go at it. Thus #27 at left. Never content to leave well enough alone, I altered the design a fare bit. I have often thought that if I started out with two identically sized wax blanks, drew identical layout lines on them both, and then started sculpting that the resulting design would be different. This experience proves the theory.
The up swept motion of both #26 & #27 were inspired by Blue Tango and Escape Velocity. The feel, movements and open design call to me — and suggest other approaches. So, I expect more works of this nature may present themselves in the future.
Pollitt Studio – my work space
Sculpture studio and morning break with Raven, our precious Portuguese Water Dog.
A view of my Santa Fe Studio from our home, and my view from the studio portal,
where I sometimes sculpt on beautiful days like the one pictured.