My approach to making glass art is experimental and intuitive.
Depending on the emotions that I want to express I choose my methods and materials.
A first example is “The swamp of Mesopotamia” (in portfolio)
Long time ago, cuneiform signs were developed in the Middle East region as a powerful collective imagined reality to organize trade networks. Thousands of years later in the same area, religious, nationalistic and ethnical common myths were weaved to another reality, in this case however so destructive and intolerant that it distroyed people and brought cultural heritage in danger.
To highlight this tragedy, I chose to use a unique glass firing process with copper and chemicals where red stain “flames” are spontaneously formed in the kiln.
Below I am preparing some glass for the kilnfiring-fusing with copper. The copper has been corroded by chemicals so that red stains can form during the firing process. The side of the glass sheet that will be in contact with the copper is covered with Titan white.
A second example is the installation “My Enclosed Garden” (in portfolio) I chose for cyanotype on glass, a technique from the early photography, because of the forming of beautiful Prussian Blue, excellent to create an atmosphere of peace and contemplation. As I also wanted to create a connection between the theme of the “Enclosed Gardens” and a spiritual search, I implemented silver -and/or gold leaf gilding on top of the cyanotype layer.
In the image below I'm ready to make the photo sensitive gelatin layer necessary for the cyanotype process on glass in a dark room.
When the blue color is formed after exposing to the sun, it is sometimes nice to gild some parts with a silversheet. Here I' ve just taken the tools that I need for this process, so that I can begin with the gilding.