The Mystery of Motion


Harry Pollitt - cobalt blue Coriolis glass sculpture

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Harry Pollitt - cobalt blue Coriolis glass sculpture
Pale Cobalt
1′ 3″ h, 2′ 6″ w, 1-1/4″ d

Coriolis…cast glass wall sculpture

In the emerging stages, my first cast glass wall sculpture was a whole new process for me.

In wood, a wall sculpture was a familiar and enjoyable form. Yet, at first, it felt “weird” in wax (which, as you know, is my sculpting medium for glass).

I found I was doubling back on my learning curve. I had gotten accustomed to pure design in my previous 28 three-dimensional glass sculptures…and I had not missed the “missing” wood grain. But, with this piece, I had to become acclimated all over again, because there seemed now to be no point of beginning.

Creating this piece

Creating CORIOLIS…poured-flat wax slab, sculpted & prepared for the foundry

I think approaching the poured wax as a flat slab versus a cylindrical form had something to do with my feeling of unfamiliarity.  But, whatever the reason, this was the first time I had missed “partnering” with the wood grain in creating a piece.

Plus, I felt I needed to start with a more completed design sketch.  That was a real challenge since, as you may know, I don’t draw and have never been able to sketch my sculptures-in-the-round.

There were other unfamiliar aspects, too.  I consider my wall art as bas relief – the ancient sculpture technique which renders the design elements more prominent (higher) than the (overall flat) background.  As such, it was a learning experience to determine ideal thicknesses. How much do I need in order for the piece to hold together?  How deep can I sculpt?  Etc.  (Turns out it could have been thinner — handy to know for the next one!)

Missing in action

I also seemed to miss my wood working tools very much. With them it was much easier to remove the “waste material.” I also missed the ability to use wood rasps for smoothing surfaces – especially in the area of the deep-V cuts.

On the other hand, once again I utilized and celebrated the “add back” capability — “waxing on” when I needed just a little bit more material to extend a flourish or S-curve. It reminds me of Gaye quoting her Italian grandmother when asked, “How much spice did you add, Mom-Mom?” To which Mom-Mom would reply, “Juest enuf.”

At first, I really thought this entire first-stage wax sculpting process for a wall hanging would require less time than my sculptures in-the-round.  That turned out not to be the case – not at all.

Then, the foundry kiln casting process was so totally different that, for the first time, I got very involved in it as well because I wanted to learn about it. Learn with me, if you’d like; I’ve recorded the foundry process in detail and photos here.


Contacting Harry

I'm mostly here, sometimes there. I get around to galleries, shows and events, SOFA hopefully always, and enough international travel to keep a smile on my face. But you can always reach me! Question? Price Inquiry? Studio Visit? Complete our form.


Whether you are an avid collector of glass or wood ... or just love sculpture, I am pleased you are here. I invite your reactions to and impressions of my work. And, if a piece calls to you, please get in touch.