By now, everyone on the planet has seen the ubiquitous slumped bottle/cheese plate.
I’ve added a Costa Rican tropical bird to each one, most of which I’ve seen here in Samara. (more…)
After yesterday’s kiln repairs, these lichor bottles look just as I expected: bright, transparent, without spots and no cracking. Now I’ll paint them with tropical birds that I see around my house.
These are the ones I fired last week when the kiln wasn’t working properly: lots of devitrification (chalkiness), bubbles, exploded bubbles, and generally ugly. I am so pleased to have figured out the problem.
Send me your empty, your poured.
Since my Seattle workshop in June, I have been working every day in the studio and loving it. What have I been doing?
I’ve been “painting” pictures with powdered and crushed glass (frit). I’m enjoying the process immensely, but I’m less than satisfied with the results.
Is it technique or technical? I don’t know and I’ve asked for professional advice.
It would be easy if I would stick to using the tested compatible COE96 art glass – I can knock those babies out – but I am really committed to using recycled “float” and bottle glass.
And it just isn’t going well. I am really proud of this “save”. But why do my pieces spontaneously crack down the middle? Like I said, I’ve asked for professional advice.
A new series – The Birds of Costa Rica. (We have seen all of these from my house.)
I “paint” with powdered glass and frit onto float glass.
Some I put on bottle glass. Here is a Bombay Gin bottle, repurposed.
You can buy these birds in their wooden display stands at Samara Organics, in Playa Samara – c15,000 ($30.00)
With the new skills I learned recently from Michael Dupille, I am reinterpreting the local Chorotega pottery, made by the people indigenous to this part of Costa Rica.
The families are still working at Guaitil and San Vicente to create traditional designs which are highly patterned and usually symmetrical. Often they have iconic animal figures in the center.
I start by making new sheets of glass, using broken wine and beer bottles. I’m still working out the firing schedule, hoping to get the glass more transparent.
Then I add my interpretations of the Chorotega designs, using Michael’s “Scratch and Frit” method with glass paste and frit.
It’s time consuming and labor intensive. It gets fired several times. But the glass is free and I have the gift of time.
I’m thinking of slumping these into shallow plates, which will help the light pass through. What do you think?