Dichroic Glass Fused Pictures
By Derek Hayward - Added 24th of February 2011Dichroic and Fused Glass Pictures
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I begin my Dichroic pictures like most Artists by reflecting on the subject I wish to cover.
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Then I set about deciding the layout, whether it is to be landscape or portrait and the approximate finished size that I wish for the glass picture.
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I think about the background colour - because of the exciting properties within the dichroic glass my preference is to use either clear or Neo Lavender Fusing Glass because I feel this enhances the Dichroic Glass in the picture I want to create.
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My next decision is how I would like the edges of my Dichroic picture to look, as this determines how thick the piece needs to be made.
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After selecting the Dichroic and Fusing Glass for the piece I start cutting.
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As I am cutting the Dichroic and Fusing Glass I gradually build up the layers of glass on my base layer to create the overall look that I am trying to produce. I cannot always tell exactly how the piece will turn out, as the various layers can move slightly during the firing process and once the firing sequence has started I rarely move the glass pieces within the kiln.
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Sometimes I plan a number of firings for any one Dichroic Picture which means I need to think about which layer needs to be lower in the final piece and which need to be on top as it is the interaction of the various colours interests me which is why I use this medium within the artwork. Sometimes I feel the need to cut and add more Dichroic Glass pieces to achieve my planned look.
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If I am using luminous glass, (a glass that will glow in the dark once ‘charged’ by sunlight or electric light) I need to plan where, and where I want the piece to ‘glow’. It is also important to the look of the piece to understand how the glow glass is going to look when it is in daylight as it affects the overall look. How much and what colour the glow should be is also a consideration.
Some pieces have a subtle glow others just a few highlights.
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I feel that my Dichroic Glass picture is finished once I am satisfied with the overall look of the piece.
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I then place it against a white background as this is usually the way I choose to display my Dichroic artwork. I try to achieve in most of my work an element of surprise as I like the dichroic picture to ‘work’ from different perspectives since a feature of Dichroic Glass is its colour changing abilities.
When my work is going well I feel a sense of calm, generally when I am in this mood I am able to work quite quickly and confidently and the piece ‘feels right’ first time.
I have come to the conclusion that my mind is often thinking about a piece of work subconsciously for many weeks before the piece is started and for this reason I think I get twitchy if I do not create things regularly.
I definitely look forward to having the time in my studio being creative. I often work late into the night when the mood takes me.
When people see my Dichroic Pictures for the first time I feel the need to explain how the material works and how the various colour changes occur using one of my favourite pieces. This way I hope to encourage them to have a greater appreciation of my work. Leaving the customer to discover the way that a piece works for them often leads to interesting head movements to look at the various colour changes.
Like everyone, I like for my work to be enjoyed and it gives me a great sense of pleasure to see happy faces looking at my Artwork.
I feel privileged when someone feels they like my work enough to part with their hard earned money to purchase one of my creations. I hope that they find a place within their home where they can enjoy my work. It is even more satisfying when they return or email to say that the piece looks fabulous in their home be it in the bedroom - lounge –conservatory - hall or kitchen.
My favourite tool is definitely the kiln as there is always a sense of excitement when it has cooled down enough that I can lift the lid and look at the final result of the firing.
My current works are:-
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Tangents - this series reminds me about when I was younger (in the 1970’s) when I was fascinated with the way that String stretched between nails placed in rows that could produce a curve.
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Riviera Waves - a series influenced by the way waves hurry across Torbay, there is an interesting wave pattern that is produced by the sea wall reflecting waves by a bridge in Torquay near the Palm Court Hotel, and it produces waves that interact at 90 degrees. My Father and Grandfather where both seafarers and I guess their respect for the sea has been passed to me.
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Falling in Love – a series where the hearts are seen falling like confetti.
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Cockington Leaves- this series came from a discussion with a customer who had already purchased several pieces and wanted a picture connected to Cockington. During the Autumn months children in the park enjoy throwing handfuls of leaves into the air creating a column of leaves that then fall to the ground. I try to capture this moment as you would with a camera.
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Rolled Edge series - many types of glass come with a rolled edge that is similar to the effect of running a rolling pin over a piece of pastry, the shapes that are produced are difficult if not impossible to cut and create an interesting layering effect when laid over themselves and then fused in the kiln.
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Forest of Sails - a series inspired by taking the fast Ferry to Cowes during Cowes Week on the Isle of Wight. The Ferry didn’t seem to slow or go around the racing fleet it appeared ploughing straight on through the yachts. The impression left in my mind was one of the sails everywhere.
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Single Sailing Yachts - I try to achieve a picture of a yacht by trying to show the speed and elegance whilst maintaining a sense of peace and stillness as it appears to be moving through the water.
“I am often moved by different objects, shapes and colours”
My attention is often drawn to patterns within the glass, which can influence me to subtly alter the original plan of the design that I am currently working on or instigates another project.
My Influences:-
I often have to stop and make a note of an idea or shape that I have seen which I want to use within a new piece. It can be a simple shape within an Iron gate or a combination of colours found on a scarf. My camera is full of inspirational pictures that I have taken whilst travelling. They have not all been used in my Artwork as yet. I am still hoping find the right moment and glass to create pictures inspired by Gondolas in Venice, the stunning Lake District scenery, brightly coloured buildings in Copenhagen and Burano (near Venice) and the Beautiful Domes in St Petersburg.
I find that once inspired I like to explore and develop an idea by producing a number of related Pictures all of which have a personality of their own. By using different glass and viewing the subject from an alternative viewpoint - time of day - year etc. I feel able to explore the subject further. A good example is the Cockington Leaves series which has one entitled frozen Cockington Leaves which was inspired when walking through the Park and seeing leaves and twigs frozen into the layers of ice on the lake. The picture has an unusual surface which has an iridised finish which mimicked the shapes within the ice.