Exhibition at Sabbia Gallery Sydney 2021
In developing this body of work, Curtis’s keen eye for symmetry and mathematical precision have become peripheral, yielding a more meditative approach to the alignment of form. Working with a subtle and shifting palate of hues, referencing the traditional glassblowing technique of sommerso. The composition of these fields of colour, veneers encasing the encompassed blown void, accentuates their boundaries and margins. Reflecting upon how objects and ideas need at times to yield and accommodate each other to fit together harmoniously.
In developing this body of work, Curtis’s keen eye for symmetry and mathematical precision have become peripheral, yielding a more meditative approach to the alignment of form. Working with a subtle and shifting palate of hues, referencing the traditional glassblowing technique of sommerso. The composition of these fields of colour, veneers encasing the encompassed blown void, accentuates their boundaries and margins. Reflecting upon how objects and ideas need at times to yield and accommodate each other to fit together harmoniously.
Curtis grouping 2021 #2121 #2117 #2124 Photo Hilary Wardaugh.
Periphery #2119 AquaSteelSpringGreen h42 photo Hilary Wardaugh
Boundary #2124_Curtis Tangerine Clear Grey 28h
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Boundary #2123 Curtis Teal and Aqua Green Steel Blue h31 Photo Hilary Wardaugh
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In developing this body of work, I was interested in manipulating both the external form of the glass and the envelope of air that is encased within. The layers of colour are achieved by making the work in stages, much like a traditional graal technique, yet with sommerso it is rather more about the fields of colour and their boundaries. The large bubble that is at the interior of these forms, is compressed and formed to its limit. It is created by gathering layers of glass, blowing and then trapping the bubble. This is then stretched and squeezed from either side with cork pads. Further manipulation whilst hot would see the fine edges crush. This narrow envelope of air informs the boundaries and interplay of the layers of colour. It is a fine balance. It is a physically demanding process. The components are produced with enough glass, so that I there is material to carve and smooth after it has cooled. There are days of shaping and carving the work once cooled.
I tint my furnace glass, which is a base material, and traditionally clear. I mix in a small percentage of combinations of metal oxides, mostly under 0.3% to achieve delicate hues.
When the glass is cooked at 1250 degrees, I stir the glass (with a raw potato on the end of a metal rod, the water in the potato instantly steams to create large glooping bubbles which help mix, and then fine out) to ensure the glass is homogenous.
The layers of hues are achieved systematically, over various melts. The innermost bubble has the densest veneer of colour, which describes the limit of the air bubble.
After 30 years of glass blowing producing this body of work has been like learning a new language. The iterations and layered use of colour has at times demanded a counter intuitive approach. There have been many incremental nuances and learned throughout every stage of these processes.
Pairing Curtis #2116 #2119 Photo Hilary Wardaugh
Periphery #2115 Curtis Cherry Grey Photo Hilary Wardaugh
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Detail Perimeter paired grid # 2127 Photo Hilary Wardaugh
Periphery #2122 Curtis Tangerine Clear Grey Photo Hilary Wardaugh
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Periphery #2114 Cherry Red Neodymium Steel 35h photo Hilary Wardaugh