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”一词是法语表达，被英语术语采用。翻译过来就是“玻璃糊”的意思。玻璃是通过在模具的侧面上设置一层粉末状或皱褶状的玻璃的原位熔融而成形的。pate de verre的起源可以追溯到最早的玻璃制造历史;从公元前第二个千年中期的中东地区：美索不达米亚，以及此后不久的埃及。一旦罗马人发明了吹管，它就被完全遗忘了，直到世纪之交在法国复兴。在材料和技术的演变中，这种近两千年的发展差距是特殊的。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）和玛格丽特阿尔斯顿（1980年初）研究了这一主题。该项目旨在研究在技术上和视觉上的鱼酱制作的新方向。我打算深入研究金属氧化物的分解，特别是锰和钴的氧化物，如何在艺术品的制作中作为一种成型工具。我之前的研究表明，将金属氧化物引入Verre中以产生颜色，这表明了在制作Verre所需的烧制时间表内“捕捉”氧气释放的有趣技术和化学可能性。以此为技术起点，我将研究如何在pate de verre中使用不同的语言。一方面，我特别感兴趣的是创建一种直接的工作方式：通过使用烧制玻璃板时从玻璃-氧化物基质释放的能量，在一个动作中对玻璃进行着色和成形。另一方面，事实上，我对玻璃的次要品质特别感兴趣，这使我能够以一种相当非传统的方式专注于“被忽视”的品质。历史上可能被视为不成功的东西现在可以被探索，以在古代技术中为当代语言提供信息。这与对艺术作品的“感知领域”（罗莎琳德·克劳斯）的探索相结合，这是我工作中强烈关注的一个研究项目。研究计划将采取一系列的调查方法，可概述如下：- 进行系统测试以生产原始样品-结合对玻璃-氧化物基质的选定配方的经验测试，开发玻璃成型的新技术方法-定义样品制作之外的可行边界-将这些发现应用于新的艺术作品中-分析这些结果，反思所获得的质量，并记录研究过程收藏和巴黎装饰艺术博物馆的文献研究-通过展览传播研究，讲座和论文我希望这项研究将有助于在玻璃学科的新知识，更具体地说，在发展新的基础上向前迈出了一步verre制作。技术革新将在古老的技术中带来新的当代视觉语言，有充分的经济理由来推动窑玻璃艺术家的实践。在能源成本上升的时代，在热玻璃中工作的艺术家很难建立自己的企业。即使在窑玻璃的专业领域，在pate de verre的工作也只需要非常基本的设备（主要是电窑和一些手工工具），并且资源使用率低（制作物体所需的玻璃很少，而且由于烧制温度低，能源成本也很低）。虽然还处于早期阶段，但这项研究可能预示着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.