Jessamy Kelly

Properties & Qualities

Application

Sculpture

Qualities

3D Opaque Textured / tactile

Colour

White Clear

Sample Information

Date of creation

2019

Culture & Context

Inspiration comes from the natural world and landscape, to which I add my own commentary and narrative about the environment within my kiln cast glass artwork. Our experience of place and of landscape is immediate we see a natural view and we are in awe, however often this landscape has changed over time, deforested, developed, scarred and altered over time. The surface layer changes yet the geology below, the sense of place remains with us in our minds, solid for us to stand on.

Process & Production

The model for this piece was made using gelflex (a type of silicon rubber), which was roughly cast it was then cut by hand using a scalpel, to create indents and facets on the form. This was moulded in more gelfex, the original form was removed and wax was poured into the cavity left behind. Hot wax was then poured into the rubber mould and allowed to cool. The wax is taken out of the mould and any over casts or flaws removed by hand. The wax model is used to measure the volume of the glass that is needed for the cast. The wax model is immersed in cold water and the amount of water it displaces is noted down, it tells me how much glass to use. The wax model is then set on a table and the mould investment is covered over the wax model, the wax model is covered in mould material. The wax model is then steamed out of the mould using a wallpaper steamer, the hose is placed into the mould and the wax heats up and runs out of the mould. Once all of the water has been taken out the mould cavity is cleaned by pouring boiling hot water into the cavity until all of the wax is completely removed. The cavity left by the steamed out model is then ready to be fired with glass. Glass cullet is added to the open top of the mould, the mould and glass are then high fired to around 890 degrees Celsius, the glass flows into the cavity and fills up the mould. The cast is slowly cooled following an annealing schedule which is pre-programmed into the kiln. Once the kiln has cooled to below 50 degree the door can be opened and the glass filled mould taken out. Once fully cooled for a further 24hrs the glass can be removed from the mould, by carefully breaking off the fired mould. The glass is then cleaned up with water and can then be cold worked, the over cast at the base which is where the glass flows into the mould needs to be cut off on the diamond saw, the base of the cut is then ground flat on the flat bed grinding wheel and softened on the linisher. The surface is then sand blasted all over to remove any flaws, the glass is then cut on a diamond wheel, the surface is carefully refined, the final touch is to brush polish the glass using pumice which creates a sheen where the glass has been cut.

Recipe Details

Prepare the mould, measure equal parts of plaster and flint with water to create a mould mix which can then be used to cover the model. Carefully apply a thin spray of hairspray to the wax model, then apply a thin face coat (first coat) of the mould mix to the model, allow to dry. Continue to add layers of mould mix in a slightly thicker consistency to the model, continue into the mould has an equal thickness of around 6-8cm all over. Allow the mould to dry, flatten off the base and put into the drying cupboard overnight. Once the mould has dried the wax can be steamed out and the mould is ready for casting.Measure the glass needed by displacing the wax model in water, a mix of Bullseye white kiln casting glass is used. Use this displacement technique to measure out the glass that is needed for the model size. Wash and place the measured glass into the prepared mould (made from a mixture of plaster and flint). Put the mould and the measured glass into the kiln and fire to around 890 degrees Celsius.