glenn carter glass
Cast Glass

The work in this gallery represents cast and painted glass for commission and exhibition. Various pieces have been exhibited and acquired by national and municipal organisations and private collections. (see here)

Highcross House
Lens
A.N.U. Canberra
Recent Work
Archive


Processes and techniques

....They are in part, informed by experiences of the remnants of pre and post war cast concrete structures often located in isolated locations in a landscape of originally chalk down land and the sea.

In these structures I found definition, starkness, a man made non-vernacular series of forms where colour, shifting light and the sea connected, exposing a mixture of defining surfaces and startling light.

Matching these emotional experiences with a material are part of a developing dexterity that is defined through drawing. This drawing and form making is ready to be rubbed out, reduced, cut and sawn.

Historical Background:
The eighth century treatise on glass titled, Kitab al-Durra al-Maknuuna’ (‘The Book of the Hidden Pearl’) of Jabir ibn Hayyan (c.721-c.815), looks into glass production of this period. Specific to some of the work exhibited at High Cross House is the production and use of lustre’s, recipes developed from considerable chemical knowledge and applied by highly skilled artisan glassmakers of this period.

These mediums and the development of silver (nitrate) stain was applied to vessel glass found throughout Iraq, Syria, Egypt and Iran from this period. The adaptation of silver stain to architectural glass occurred in the early C14 when French glass painters saw this yellow pigment applied to vessel glass.

Obtaining a bright yellow glass up to this point was problematic so this new pigment was utilized to highlight gothic drapery, crowns and canopy detail. It was iconic; it glowed and shone like a golden heavenly’ light. Utilized in historical stained glass it was a pictorial and practical affirmation of the message of god. In many references to symbolism, “light” is seen as “yellow”. It’s application illuminated halos and architectural detail and was symbolic of the creation and divinity.

Some of the works exhibited contain multi -layered pieces of glass applied with silver stain. This medium is fired and then fused together in a kiln. They are then cold worked to their final shape. The outside surface is finished in a very fine diffusion. Other works are cast glass with coloured inclusions.
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