Vesele, Anna (2010) Baltic Glass The development of new creative models based on historical and contemporary contextualization. Doctoral thesis, University of Sunderland. Downloaded from: http://sure.sunderland.ac.uk/3659/ Usage guidelines Please refer to the usage guidelines at http://sure.sunderland.ac.uk/policies.html or alternatively contact [email protected]. Baltic Glass The development of new creative models based on historical and contemporary contextualization Anna Vesele A thesis submitted in partial fulfilment of the requirements of the University of Sunderland for the degree of Doctor of Philosophy Faculty of Arts, Design and Media, University of Sunderland April 2010 1 Abstract The aim of this research was to demonstrate the creative potential of a particular type of coloured flat glass. This glass is produced in Russia and is known as Russian glass. The present researcher has refined methods used by Baltic glass artists to create three- dimensional artworks. The examination of the development of glass techniques in Estonia, Latvia and Lithuania was necessary in order to identify these methods and to contextualize the researcher’s personal practice. This study describes for the first time the development of glass art techniques in the Baltic States from the 1950s to the present day. A multi-method approach was used to address research issues from the perspective of the glass practitioner. The methods consisted of the development of sketches, models and glass artworks using existing and unique assembling methods. The artworks underlined the creative potential of flat material and gave rise to a reduction in costs. In conjunction with these methods, the case studies focused on the identification of similarities among Baltic glass practices and similarities of approach to using various glass techniques. The collaboration with peers and participation at glass events served to position the researcher’s personal practice in the context of glass art in the Baltic States. The practical results of this research demonstrated the potential of Russian glass in the creation of three-dimensional artworks in several ways. The theoretical results also identified the importance of traditional culture and influences among contemporary Baltic glass artists. Links were established between the researcher’s personal practice and the common principles behind that of Baltic artists. The thesis provides practitioners and glass professionals with a significant body of knowledge. The artworks which form part of this thesis demonstrate the potential of the techniques and, it is to be hoped, pave the way for further investigation and development by other glass practitioners. Contents I List of artworks submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy at the University of Sunderland V II List of Tables VII III List of Appendices VIII IV List of Figures IX V Author’s Declaration XXXVII VI Acknowledgments XXXVIII 1. Introduction 1.1 Background to the research 1 1.1.1 Rationale for the research 4 1.1.2 Rationale for the development of a body of artwork 8 1.2 Research questions 9 1.3 Aims of the research 10 1.4 Objectives of the research 10 1.4.1 Objective 1 10 1.4.2 Objective 2 10 1.4.3 Objective 3 10 1.4.4 Objective 4 11 1.5 Components of work that constitute the research results 12 1.6 Methodology 12 1.6.1 Historical 14 1.6.1.1 Published and unpublished sources 14 1.6.2 Empirical 16 1.6.2.1 Interviews 16 1.6.2.2 Questionnaires 18 1.6.3 Reflective 18 1.6.3.1 Collaboration and personal practice 19 I 1.6.3.2 Photography 23 1.6.4 Experimental 23 1.6.4.1 Sketchbooks 24 1.6.4.2 3D models 24 1.6.4.3 Development of artworks 25 1.7 Strengths and weaknesses of the methods used 25 2. Context – contemporary glass art in the Baltic States 28 2.1 Rationale for the choice of the three countries 28 2.1.1 Collaboration among the three countries 28 2.1.2 Similarities in culture and traditions 29 2.1.3 The Baltic States understood as an umbrella term 30 2.2 Baltic glass in context 30 2.3 Cold glass techniques 34 2.3.1 Engraving, acid etching and other surface decorations 34 2.3.2 Sandblasting 43 2.3.3 Grinding 49 2.4 Architectural glass 52 2.4.1 Stained glass 53 2.4.2 Dalle de verre 70 2.5 Hot glass techniques 80 2.5.1 Blown glass 80 2.5.2 Hot poured glass 94 2.5.3 Flameworking 96 2.6 Kiln glass techniques 99 2.6.1 Casting and lost wax 101 2.6.2 Pâte de verre 104 2.6.3 Slumping and fusing 106 2.6.4 Mixed media and techniques 110 2.7 Summary of the development of techniques 114 II 3. The creation of a body of artwork to demonstrate and develop the creative use of Russian glass 117 3.1 Russian glass in the context of the present research 117 3.1.1 Compatibility 118 3.1.2 Range of colours 120 3.1.3 Financial issues 120 3.1.4 The context for the use of Russian glass by Baltic glass artists 121 3.1.5 The rationale of choosing Russian glass 126 3.2 The nature of the created artworks 126 3.3 Methods of assembling Russian glass 130 3.3.1 Use of glass fusing 131 3.3.2 Use of various glues 133 3.3.2.1 Use of epoxy resins 133 3.3.2.2 Use of silicone 136 3.3.2.3 Use of UV bond 137 3.3.3 Use of metal elements 139 3.4 Series of nest forms 142 3.4.1 Round closed shapes 144 3.4.2 Round opened shapes 149 3.4.3 Opened and natural shapes 152 3.4.4 Two-dimensional shapes 157 3.5 Series of woodpile forms 158 3.5.1 Monumental shapes 160 3.5.2 Scale and its possibilities 163 3.6 The use of other techniques 166 3.7 Summary of issues raised in Chapter 3 169 4. The three Baltic States in terms of traditions, characteristics and links 171 4.1 Similar methods of using glass based on regional traditions 171 III 4.2 The cultural identity of the artist 172 4.3 Role of traditional culture and folk ornaments 174 4.4 Recurring geometric shapes 183 5. Conclusions and areas for further research 191 5.1 Stages of outcomes in relation to the aims of the research 191 5.1.1 In relation to the first objective, To identify similar approaches, use of materials, and influences among contemporary glass artists in the Baltic States 191 5.1.2 In relation to the second objective, To identify the possible uses and development of Russian glass in contemporary glass practice in the Baltic States 193 5.1.3 In relation to the third objective, To produce a body of glass artwork that demonstrates the creative potential of new approaches for practitioners in the field 196 5.1.4 In relation to the fourth objective, To position the artworks within the context of glass art in the Baltic States 198 5.2 Summary of the position of this research project in relation to the body of knowledge 199 5.3 Areas for further research 200 5.3.1 The development of other assembling methods and materials 201 5.3.2 The development of a further body of artworks in terms of size and complexity 202 5.3.3 Possible future avenues of research 203 5.4 Concluding remarks 204 Appendices (See List of Appendices, p. VIII) 206 Bibliography 248 IV I List of artworks submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy at the University of Sunderland ‘Crater’ Cut, fire polished and glued glass 60 cm x 60 cm x 20 cm ‘Circle’ Cut, fire polished and glued glass Ø 45 cm, h 6 cm ‘Inside outside’ Cut, fire polished and glued glass 25 cm x 45 cm x 50 cm ‘Green’ Cut, fire polished and glued glass 20 cm x 20 cm x 25 cm ‘Homeland’ Cut, fire polished and glued glass 50 cm x 30 cm x 15 cm ‘Spiral’ Cut, fire polished and glued glass 45 cm x 50 cm x 20 cm ‘Up and down’ Cut, fire polished and glued glass 35 cm x 18 cm x 30 cm V ‘Hidden side’ Cut, fire polished and glued glass 60 cm x 18 cm x 9 cm ‘Writing in the sand’ Cut and fused glass 75 cm x 30 cm x 7 cm ‘Evolution’ Cut, linished, sandblasted and glued glass 65 cm x 45 cm x 35 cm ‘Square’ Cut, linished and glued glass 31 cm x 31 cm x 5 cm ‘Sunrise’ Cut, linished and sandblasted glass, metal 80 cm x 120 cm x 50 cm ‘River’ Waterjet cut glass and metal 80 cm x 400 cm x 100 cm Necklace ‘River’ Cut, linished and drilled glass, metal 20 cm x 20 cm x 5 cm VI II List of Tables Chapter 1 Table 1: The methods corresponding to the objectives of the research 13 Chapter 2 Table 2: Beginnings of individual glass creation in the Baltic States in relation to other countries of the world 32 Chapter 3 Table 3: Advantages and disadvantages of assembling methods 130 Table 4: Compatibility of assembling methods and aims 170 Appendix 11 Table 5: Dark green, amber, dark and light blue glass (soft edges) 244 Table 6: Orange, red and flashed glass (soft edges) 244 VII III List of Appendices 1.