I’ve been working on a new series of chipbowls and salsa dishes, using window glass which is (usually, almost) free around here, left over at construction sites – Thank-you, Kristina.
People have been curious about the process so here is what I do. I like the philosophy of recycling glass but the material is not as forgiving as System 96 glass which is made specifically for fusing. The learning curve has been steep.
After cutting the ¼” thick glass to the size I want, I mix up a paste of glass frit powder with an organic fusible gel.
The paste is spread across the glass and left to air dry in the sun.
Then, with a soft pencil, I draw a design on the dry glass powder.
The design is carved away with a drummel tool.
The negative spaces are then refilled with a different color of glass powder.
When the design is complete, the piece is fired at full fuse (1535F for float glass).
Before molding the piece in a second or third kiln firing, the edges are hand sanded with 80 and 220 grit.
All in all, it takes me nearly a week to finish a piece.
I’ve also been using fusible System 96 glass as well, which is more expensive but produces more consistent results.
I’ve been having a lot of fun recently making these wire-wrapped pendants.
I’ve enhanced them with beaded ropes.
I recently selected a few for gifts for the girls and women in my family. When I laid them out on the table so each one could choose her favorite, my 16 year-old grandson swooped in, made his own selection, and wore his pendant the rest of the weekend. So, you see, these designs are unisex.
These earrings are using a new technique with a new material. I hope you like them.
All of this jewelry is for sale at Samara Organics at the Natural Center.
When I make mistakes in fused glass pieces, I break them up and re-fire them into “puddles”.
Lately, I’ve been wire-wrapping them as earrings and pendants.
My friend, Connie – she is great with beads and beading – helped me enhance these pendants with beaded ropes for necklaces.
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, “CURRENTS”, will be on display tomorrow at Samara Organics Mercado & Café.
And Costa Rica is so very green