Eye and mind transformed: investigation in the physical and visual properties of the decomposition of metal oxides in pate de verre making
Lead Research Organisation:
University of Sunderland
Department Name: Arts and Design
Abstract
The term 'pate de verre' is a French expression, adopted into English terminology. In translation it means 'paste of glass'. The glass is shaped by in situ fusion of a layer of powdered or frilled glass disposed against the sides of a mould.
The origins of pate de verre dates back to the earliest history of glassmaking; from the middle of the second millennium BC in the Middle East region: Mesopotamia, and shortly thereafter, Egypt. Once the Romans invented the blowpipe it was totally forgotten until it was revived around the turn of the 20th century in France. This gap of almost two millennia in the development of pate de verre is exceptional in the evolution of materials and techniques.
In contemporary practice only a small group of artists are working within this old technique. In England for example, Diana Hobson (early 1970) and Margaret Alston (early 1980) have investigated in the subject.
This project aims to research new directions in pate de verre making, technically as well as visually. I intend to investigate in depth how the decomposition of metal oxides- especially manganese and cobalt oxide- can be used as a shaping tool in the making of an artwork.
My previous research on introducing metal oxides in pate de verre to generate colour has indicated intriguing technical and chemical possibilities to 'catch' oxygen release within the firing schedule needed for pate de verre making. Using this as a technical starting point, I will investigate how this can inform a different language in pate de verre.
On the one hand, I am particularly interested in creating a direct way of working: colouring and shaping the glass in one action, by using the energy release from the glass-oxide matrix when firing a pate de verre work.
On the other hand, the fact that I am particularly interested in secondary qualities of glass allows me to concentrate in a rather unconventional way on 'overlooked' qualities. What might be historically dismissed as unsuccessful can now be explored to inform a contemporary language within an ancient technique. This tie in with the quest into the 'Perceptual Field' (Rosalind Krauss) of a work of art, one that is strongly entwined in my work.
This research project is practice based. The research plan will pursue a consecutive line of inquiry which can be outlined as follow:
- Systematic testing to produce original samples
- Develop new technical methods of shaping the glass in combination with empirical testing on selected recipes of the glass-oxide matrix
- Define viable boundaries beyond sample making
-Application of these findings in a new body of art work
-Analyse these results, reflect on obtained qualities and document the research process collection and literature research at the Centre du Verre, Musee des Arts Decoratifs, Paris
-Disseminate the research through exhibitions, lectures and papers
I hope this investigation will contribute to new knowledge in the discipline of glass, more specifically in taking a step forward in developing new grounds for pate de verre making. Technical innovation will lead to a new contemporary visual language within an ancient technique.
There are good economical reasons to advance the area of kiln-glass for the artist practice. In times of raising energy costs it becomes very difficult for artists working in hot glass to set up an own business. Even within the specialist area of kiln-glass, working in pate de verre only demands very basic equipment (mainly a electrical kiln and some hand tools) and is low in use of resources (little glass is needed to make an object and the energy costs are low due to low firing temperatures).
Although early days, this research might indicate potential for future development into the area of design and architecture.
The origins of pate de verre dates back to the earliest history of glassmaking; from the middle of the second millennium BC in the Middle East region: Mesopotamia, and shortly thereafter, Egypt. Once the Romans invented the blowpipe it was totally forgotten until it was revived around the turn of the 20th century in France. This gap of almost two millennia in the development of pate de verre is exceptional in the evolution of materials and techniques.
In contemporary practice only a small group of artists are working within this old technique. In England for example, Diana Hobson (early 1970) and Margaret Alston (early 1980) have investigated in the subject.
This project aims to research new directions in pate de verre making, technically as well as visually. I intend to investigate in depth how the decomposition of metal oxides- especially manganese and cobalt oxide- can be used as a shaping tool in the making of an artwork.
My previous research on introducing metal oxides in pate de verre to generate colour has indicated intriguing technical and chemical possibilities to 'catch' oxygen release within the firing schedule needed for pate de verre making. Using this as a technical starting point, I will investigate how this can inform a different language in pate de verre.
On the one hand, I am particularly interested in creating a direct way of working: colouring and shaping the glass in one action, by using the energy release from the glass-oxide matrix when firing a pate de verre work.
On the other hand, the fact that I am particularly interested in secondary qualities of glass allows me to concentrate in a rather unconventional way on 'overlooked' qualities. What might be historically dismissed as unsuccessful can now be explored to inform a contemporary language within an ancient technique. This tie in with the quest into the 'Perceptual Field' (Rosalind Krauss) of a work of art, one that is strongly entwined in my work.
This research project is practice based. The research plan will pursue a consecutive line of inquiry which can be outlined as follow:
- Systematic testing to produce original samples
- Develop new technical methods of shaping the glass in combination with empirical testing on selected recipes of the glass-oxide matrix
- Define viable boundaries beyond sample making
-Application of these findings in a new body of art work
-Analyse these results, reflect on obtained qualities and document the research process collection and literature research at the Centre du Verre, Musee des Arts Decoratifs, Paris
-Disseminate the research through exhibitions, lectures and papers
I hope this investigation will contribute to new knowledge in the discipline of glass, more specifically in taking a step forward in developing new grounds for pate de verre making. Technical innovation will lead to a new contemporary visual language within an ancient technique.
There are good economical reasons to advance the area of kiln-glass for the artist practice. In times of raising energy costs it becomes very difficult for artists working in hot glass to set up an own business. Even within the specialist area of kiln-glass, working in pate de verre only demands very basic equipment (mainly a electrical kiln and some hand tools) and is low in use of resources (little glass is needed to make an object and the energy costs are low due to low firing temperatures).
Although early days, this research might indicate potential for future development into the area of design and architecture.
Organisations
People |
ORCID iD |
| Sylvie Vandenhoucke (Principal Investigator) |