This project has been completely curtailed by the Covid 19 pandemic
An unfilled space; a gap: ‘the journal has filled a lacuna in Middle Eastern studies.’ A missing portion in a book or manuscript. In architecture, the void shown in plan drawings
Kiln Formed Glass: Methods and Outcomes
The following article is indicative of how my work changes in parallel methods and processes. The new Lenticular Process has specific relationship with the glass artwork as the material is transparent, can contain images and has reflective surface properties.
LACUNA: I have been working on a concept that is set in a ‘gestalt’ visual psychology phenomena. It concerns illusions of transparency through form and composition and the use of opaque media that can be understood as transparent or at least alluding to it. So in principle it is about imaging in 2 & 3 dimensions and the inherent ambiguity within it.
I am a follower of the teachings of Josef Albers and his book, ‘Interaction of Colour’, where these concepts are discussed in detail.
I have been working for the first time with a transparent and/or translucent material within this concept. The ‘see-through’ nature of glass creates or presents a different level of understanding of form. Working with mirrored backgrounds adds another level of ambiguity and expression, a mystique is formed, aided simply by its innate surface mobility and reflective nature and brightness as a material. There are always two views of the same object.
Left: I discovered the concept of making the 3-D image appear inside the glass and not simply as a surface shape or form. The mirrored inner surface reacts to movements of the viewer or changes in the quality and position of the light. For me it brings a new dimension to their presence as objects and as low-relief sculpture.
Right: The image is reduced with surface reflection, the shiny surface area and the matt finished edges show the volume and external form of the material.
Method & Application
‘THE FRONT VIEW‘ Ground and shot-blasted edges and surface polishing produced a ‘see-through’ surface from the front view, revealing the 3-D mirrored surface within.
Above Left: The recycled polyurethane positives are arranged in the composition format with the implicit ‘square’ at the centre. Applied metal foil provides the shiny surface. Prepared for casting with Malachite & Plaster two-piece moulds.
Above Right: Post Kiln Firing, polished and shot-blasted with a Chrome Mirror finish on the rear face. The implicit square or oblong can be any size. These finding appeared in my notebooks.
‘Lacuna’: The Parts that matter
The background to this artwork lies in the notion of Light and Colour and the perception of transparency of form, that the background and foreground change places in ones perception of the objects.
Above Left: A paper towel lies on the floor surrounded by 3 ceramic tiles which appear to bisect and interact with the background colour.
Above Right: ‘Red Square’ constructed in ceramic tiles as transparent form.
A notebook study in Black & Red. The large rectangle appears to affect the surrounding shapes and colour.
Josef Albers method of demonstrating ‘Transparency Phenomena’. All the colours are opaque gouache but appear contextually to be transparent in appearance. He refers to this as ‘Actual facts’ and ‘Factual facts’. The actions and facts seen simultaneously.
Whilst I cannot continue with this work, the style of the surface, of being able to see within it, has led to my current application to study Lenticular Imaging which has some commonality with my materials and thinking. [See Lenticular in Particular page]