Second Year Exhibition

For this exhibition I chose to continue a previous project based on geometric shapes and experiment more with mould blown glass with the intention of creating my own mould for glass to be blown into.

My work for this project was influenced by Whitefriars, an English glass company that was very popular in the 1960s.

These are called Banjo Vases from the 1960s Textured Range at Whitefrairs. I like these vases as they show off a very strong quality of line and bold pattern that matches the vivd colours chosen.

With this style of work envisaged I started looking at hexagons and bold primary colours as initial research.
First, as with all of my projects I started drawing in black and white.

My initial drawings still filtered into my designs. At this moment in time I was still trying to decipher what my final material was going to be, picking glass and textiles means there is not a lot of ways the two can be combined. I then started looking at bright colours and more retro patterns. 

I then experimented with applying these patterns onto glass tumblers using Lazertran. This is where I started my exhibition project from with the intention of transforming these patterns into hot glass.

I started by constructing glassblowing moulds out of plaster and malachite with a negative space of a hexagon, these moulds were then blown into. During the construction of these pieces I realized that I could have more than one area that my pieces could sit on for a bottom. With this in mind I considered my early drawings and how I could have a patterned surface on my pieces.

Sandblasting my glass was an obvious route for whilst my pieces were still made out of clear glass. I still had the intention of then converting these pieces into coloured glass and experimenting with different glass techniques and methods of decoration within hot glass. I also experimented with crystal glass cutting techniques.

The textures on my glass pieces were inspired by my early drawings and the mark making techniques I used.

However, due to the difficulty of getting a successful clear piece out of these moulds, I decided to stick with clear glass. I spent the time I would have used developing my work within coloured glass, practicing and attempting to get the correct thickness of glass for my final pieces. The shape of these moulds meant that it was difficult to get the right thickness of glass for the size of the mould. This contributed to a high failure rate of glass pieces being too thin to withstand basic coldworking techniques or too thick so that the air was squashed out of the vase sealing it.

Exhibition

I was happy with my final exhibition pieces but would have loved to experiment with bold, eye-catching colours like Whitefriars.

During this project I learnt a lot about what kind of work I like to create and the processes I wish to develop within my third and final year at DeMontfort.