I bet.
Etching and inking for mono-prints (in effect) would be fun I would think.
Deep etching… hours long burns?
Have you printed on and then ‘softened’ the glass?
Printing on several pieces then laminating and then heating might be cool.
Is there a laminating process that can survive (is it called) slumping?
Oh… uh, sorry.
For layers it’s easier to build them all, then fuse them one in one go, though a lot of pieces go into the kiln a few times. So long as you dam things up well, and heat with the right schedule they don’t flow. You can flow a printed piece too to get a melting print effect, but you have very limited control, so it’s hard to do well.
Yes, slumping is the term for softening things to get them to either drop a bit (or a lot) into a mold. A lot of printed pieces people do get slumped into curved forms, since they stand better unless you’re working really thick - thick pieces are my faves, but they can take days to anneal and there’s more room for a mistake to leave you with broken scrap. Putting something in a kiln and checking back in a few days to see if it worked takes some patience too.
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Control is over rated.
And, thanks for you response(s).
The Garfield Conservatory in Garfield Park on the west side of Chicago had that show as well, back in 2001-2002. I agree, the juxtaposition of hard bright glass with soft green plantings was inspired and inspiring.
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I enjoy the stuff, but there is just so much of it. Every arboretum or botanical garden that I go to is always putting on an exhibition of his work. I cannot help but picture it being manufactured by the ton in factories in places like Bangladesh and Guatemala.
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