What's worse than Castuary?* Castuary squared. What's worse than Castuary squared? Obviously: Castuary cubed. I am in Castuary for three simultaneous firings, and it's driving me nuts. I've stuffed my own kiln to the gills, along with Hugh's kiln and Kat's kiln, as if I'm in some goofy and rather spendy race to see which spits out sculpture the fastest. And it's teaching me a great lesson in the whole artist/show/gallery thing: Procrastination costs bigtime money and biggertime anxiety.
I'm SUPPOSED to be working. Instead, I'm petting crystal, which either means I'm a glassist who's finally gone over the edge...or that the nice delivery man just dropped off a big honkin' Gaffer shipment. Lordee, these things are gorgeous. How are you supposed to actually chop them up?
Why does there seem to be so little time when you're facing the future, and so much when you're looking back? It's mid-February already? How did that happen? Eeek. I've got to get on the ball. Now. I've got a show at Guardino's in late March/April and another, OGG's Spring Glass Gallery, at the end of April, and I'm not nearly ready.
OK, so where are we? Oh yeah. At the end of the first firing of Triangle, this was the tally: One destroyed clay sculpture (getting it out of the mold kills it) No silicone master as a backup One spent plaster/silica mold About 8 pounds of unfused frit mixed with talc and hence garbage One giant glass donut that should [...]
So...in part I, I meandered through a lot of creative angst and made this clay sculpture. Now, in part II, I pretty much wreck the heck out of it.
Sometimes, no matter how often you destroy it, a piece refuses to go quietly. Instead, it hangs around and bugs you until, in desperation, you finish it just for the sake of peace and quiet. Triangle was one of those. Despite seven disastrous mistakes, it's finally out of the kiln. Along the way, it taught me quite a bit about what makes my work tick.
SHOUT is a big (for me) piece, and probably the most difficult glass casting I've done to date. SHOUTing, Part I was about the problems I ran into. This post is about how I fixed them.
SHOUT's finally out of the kiln. Thank heavens. Part 1 of a 2-parter talking about how I finally got the daggone thing finished.
Catching up on the backlog of email, I found a note from Bullseye Glass announcing a new tipsheet on lost wax casting for glass. I gotta say it's one of the best process guides for glass casting that I've come across. Even if you don't use Bullseye glass, it's definitely one to have in your reference library.
"I just love the way you put faeries into all your work. That's what makes it soooo special," she gushed, "I luuuuuuuv faeries." She was looking at "I Dreamt the Jacobean Rose," a sample of tiles I'm pulling together for a prospective client and, frankly, it ain't of a faery. Especially NOT a fashionably flirty flower faery.