Schilling Glass
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A white mist blankets a lake. You are gazing at it through a drapery of ginkgo leaves in fall colors of golden brown and yellows . The name of these colors: “Spanish Fly” and “Orange peel”. Beyond, a crimson sun streaked with clouds sets over a distant mountain range. Seven separate glaze colors are used to depict this setting. The composition simply emerged from working on several of my prior lamps.
4 X 10 In.
There’s a technique developed in raku pottery where they create vibrant wriggles of black lines. They use horse tail hairs. Just what I need to depict nuclear fission where subatomic debris flies off in all directions. Sketched on a glossy, vivid blue and silver glazed surface, I’ve combined this technique with dry powder coating. On this table lamp, a composition of transparent circles is connected with random lines. Circles and patterns transpose on each other as the lamp is rotated.
4 X 10 In.
There is a technique used in raku pottery. On a very hot clay surface, natural horse tail hairs are instantly transformed into vibrant wriggles. The results I wanted. In raku, they are working at around 1800 degrees F. I only reach about 400 degrees, yet. Maybe with a torch I can combine this with my glazed powder. This glass lamp opened the door. On a fire cracker colored background, I’ve created a vivid and tactile black spider’s web. It spans from one end in black while the other is in bright gold.
2.5 X 10 In.
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