Eye and mind transformed: investigation in the physical and visual properties of the decomposition of metal oxides in pate de verre making

Pate de Verre是一个法语表达，被英语术语所采用。在翻译中，它的意思是“玻璃浆”。这种玻璃是由放置在模具侧面的一层粉末或折边玻璃原位熔化而成的。Pate de Verre的起源可以追溯到最早的玻璃制造历史；起源于公元前二千年中期的中东地区：美索不达米亚，此后不久，埃及。一旦罗马人发明了吹笛，它就被完全遗忘了，直到20世纪初它在法国复兴。在近两千年的时间里，Pate de Verre的发展差距在材料和技术的演变中是罕见的。在当代实践中，只有一小部分艺术家在使用这种古老的技术。例如，在英国，戴安娜·霍布森(1970年初)和玛格丽特·奥尔斯顿(1980年初)对这一主题进行了研究。这个项目旨在研究制作Pate de verre的新方向，无论是技术上还是视觉上。我打算深入研究金属氧化物的分解--特别是锰和钴氧化物--如何在艺术品的制作中用作成型工具。我之前在Pate de verre中引入金属氧化物来产生颜色的研究表明，在Pate de verre中引入金属氧化物来产生颜色的有趣的技术和化学可能性，可以在制作Pate de verre所需的烧成时间表内‘捕捉’氧气的释放。以此为技术起点，我将研究这如何能提供一种不同的语言。一方面，我特别感兴趣的是创造一种直接的工作方式：通过使用玻璃氧化物基质中释放的能量，一步到位地给玻璃上色和成型。另一方面，我对玻璃的次要质量特别感兴趣，这让我能够以一种相当非常规的方式专注于被忽略的质量。历史上可能被认为是不成功的东西，现在可以用一种古老的技术来启发当代语言。这与对艺术作品的“感知领域”(罗莎琳德·克劳斯饰)的探索是一致的，这是一件与我的作品紧密相连的作品。研究计划将遵循如下连续的探索路线：-系统测试以产生原始样品-结合对选定的玻璃-氧化物基质配方的经验测试开发塑造玻璃的新技术方法-定义可行的边界，超越样品制作-将这些发现应用于新的艺术作品-分析这些结果，反思所获得的质量，并记录在巴黎装饰艺术博物馆的研究过程收集和文献研究-通过展览、讲座和论文传播研究我希望这项调查将有助于玻璃学科的新知识，更具体地说，在开发制作馅饼的新场地方面向前迈进了一步。技术创新将在古老的技术中带来一种新的当代视觉语言。有很好的经济理由为艺术家实践扩大窑玻璃面积。在能源成本不断上涨的时期，在热玻璃中工作的艺术家很难成立自己的企业。即使在窑炉玻璃的专业领域内，在Pate de verre工作也只需要非常基本的设备(主要是一个电窑和一些手工工具)，而且资源利用率很低(制作物品需要很少的玻璃，而且由于烧成温度低，能源成本很低)。尽管这项研究还处于早期阶段，但这项研究可能表明未来在设计和建筑领域的发展潜力。

The term 'pate de verre' is a French expression, adopted into English terminology. In translation it means 'paste of glass'. The glass is shaped by in situ fusion of a layer of powdered or frilled glass disposed against the sides of a mould.The origins of pate de verre dates back to the earliest history of glassmaking; from the middle of the second millennium BC in the Middle East region: Mesopotamia, and shortly thereafter, Egypt. Once the Romans invented the blowpipe it was totally forgotten until it was revived around the turn of the 20th century in France. This gap of almost two millennia in the development of pate de verre is exceptional in the evolution of materials and techniques.In contemporary practice only a small group of artists are working within this old technique. In England for example, Diana Hobson (early 1970) and Margaret Alston (early 1980) have investigated in the subject.This project aims to research new directions in pate de verre making, technically as well as visually. I intend to investigate in depth how the decomposition of metal oxides- especially manganese and cobalt oxide- can be used as a shaping tool in the making of an artwork.My previous research on introducing metal oxides in pate de verre to generate colour has indicated intriguing technical and chemical possibilities to 'catch' oxygen release within the firing schedule needed for pate de verre making. Using this as a technical starting point, I will investigate how this can inform a different language in pate de verre.On the one hand, I am particularly interested in creating a direct way of working: colouring and shaping the glass in one action, by using the energy release from the glass-oxide matrix when firing a pate de verre work.On the other hand, the fact that I am particularly interested in secondary qualities of glass allows me to concentrate in a rather unconventional way on 'overlooked' qualities. What might be historically dismissed as unsuccessful can now be explored to inform a contemporary language within an ancient technique. This tie in with the quest into the 'Perceptual Field' (Rosalind Krauss) of a work of art, one that is strongly entwined in my work.This research project is practice based. The research plan will pursue a consecutive line of inquiry which can be outlined as follow:- Systematic testing to produce original samples- Develop new technical methods of shaping the glass in combination with empirical testing on selected recipes of the glass-oxide matrix- Define viable boundaries beyond sample making-Application of these findings in a new body of art work-Analyse these results, reflect on obtained qualities and document the research process collection and literature research at the Centre du Verre, Musee des Arts Decoratifs, Paris-Disseminate the research through exhibitions, lectures and papersI hope this investigation will contribute to new knowledge in the discipline of glass, more specifically in taking a step forward in developing new grounds for pate de verre making. Technical innovation will lead to a new contemporary visual language within an ancient technique.There are good economical reasons to advance the area of kiln-glass for the artist practice. In times of raising energy costs it becomes very difficult for artists working in hot glass to set up an own business. Even within the specialist area of kiln-glass, working in pate de verre only demands very basic equipment (mainly a electrical kiln and some hand tools) and is low in use of resources (little glass is needed to make an object and the energy costs are low due to low firing temperatures).Although early days, this research might indicate potential for future development into the area of design and architecture.