Recently, I attended a workshop on fused glass at RD (- click here - for website). After 2 sessions cutting and fusing glass, I had had some success but wanted to diversify into using some different techniques to create something both functional and beautiful.
 |
| - |
In terms of inspiration, I had just returned from a research trip to the northern extremity of Islay, in the Inner Hebrides for my dissertation. My research was focused on stromatolites, the fossilised remains of cyanobacteria- blue-green algae from the Precambrian.
These stromatolites formed both algal mats (biostromes) and individual bodies (bioherms) that could be as large as 4m in height. The bioherms are the most impressive of the stromatolites in the area, which themselves are the most impressive in the UK. At the bottom of the post there will be some further reading sources.
 |
| Stromatolite bioherms with hemispherical growth structures in their upper part. Hammer for scale. |
 |
| Stromatolite bioherms joining into a biostromal sheet in the upper bed, with exposed ripples in the lower bed. Hammer for scale. |
The first stage is cutting the base layer of the coaster. This is clear glass 3mm thick. On top of this additional layers of glass are added. The stromatolites are limited in colour, as a result I decided to go with a monochrome black and white colour scheme instead of the pale brown/ochre colour of the dolomite that forms the stromatolites.
 |
| Unfired. |
After the base layer is cut, additional layers of glass were added, as well as frit (coarse fragments of glass) and powders. I had not used powdered glass in the two previous sessions, but I was told they were very subtle, so I used them for the stromatolitic growths on top of cut black glass bioherms (LH coaster above). Powders were also used for bordering bioherms and within the frit to add detail.
Fused glass, however, is not just about the glass that is added but glass that isn't added due to resists. Kiln paper acts as a resist to the glass. It is a material composed of fibres that are heat resistant and allows the glass to slump over it. This was used as ripples in the left hand coaster and as the actual bioherms in the right hand coaster (bordered with black powder ontop of the glass). When the pieces have been fired the kiln paper can be peeled off, leaving a textured surface, thinner in thickness to the rest of the coaster.
 |
| Stromatolite Coaster No.1: left: topside, right: underside. Notice feet have been added to the four 'corners' of the coaster to raise it and the kiln paper imprint on the underside. |
 |
| Stromatolite Coaster No.2: left: topside, right: bottomside. |
The glass has a fantastic shine, while this makes for a beautiful finish to the coaster, it is poor for photography, so here are some closer up images showing the coasters' finish and the difference in thickness and texture due to the use of kiln paper.
 |
| Topside kiln paper ripple. |
 |
| Underside kiln paper ripple and adjoining foot. Notice the foot could not be placed in the corner due to the difference in height. |
 |
| Underside, including kiln paper ovals (bioherms) and corner foot. |
Further sources:
A Guide to the Geology of Islay (2015), by Webster, Anderton and Skelton is a fantastic guide to the geology of the island, with particular emphasis on walking and visiting localities of interest: a must have.
The Late Precambrian Geology of the Scottish Highlands and Islands: No.44 Geolgists' Association Guide (Geologists' Association Guides) (1991) by Hambrey et al. includes a good number of excursions including to the north of Islay, where further detail is given: a good companion to the above guide.
The Dalradian rocks of the south-west Grampian Highlands of Scotland (2013) by Tanner et al.
Plus other publications by Fairchild and Spencer & Spencer detailing the Bonahaven Dolomite and it's stromatolites.
Comments
Post a Comment