hot gl ass demo Pressed Into Service: Pressing Studio Glass Art in the US, UK, and China By Mark Hursty

This paper describes the creative motivations Mark Hursty, and implications behind my recent research Shanghai Veil developing experimental, sculptural uses for pressed glass. This work has been informed by my experience in China’s nascent glass art institutions as a Fulbright Fellow from 2011-2012, participating in the February 2014 Glass Virus pedagogy forum 1 at Gerrit Rietveld Academie, Netherlands, and my research at the National Glass Centre, University of Sunderland, UK.

Pressed glass is often perceived as artistically impractical, fit only for the mass production of commercial items like ashtrays, streetlamp covers, and the creatively dubious kitsch- patterned souvenirs. Other artistic deterrents include the heat, tedium, mechanization, manpower, and energy required to produce industrialized pressed glass. Neutral, or even negative, perceptions towards pressing have served to discourage artists from using it in the studio. This misapprehension is unproductive and should be re-examined. The same chal- lenges presented by pressing were overcome by the early Studio Glass artists who were pioneering glassblowing and kiln casting. This begs the question: why couldn’t more studio artists use pressed glass? Pressing glass offers unique creative advantages that blowing and casting cannot, and where the processes overlap, pressing is quicker and cheaper. My research serves as Similar to clay, the benefits of pressed glass’s and multiples. Others have used pressed a model for how pressed glass methods can malleable state are significant and can be glass techniques to form simple and decora- augment and expand the glass artist’s toolbox. expressed in glassblowing terms by relating the tive sun-catchers and complex architectural pressings to the roll-up process. By flattening structures.4 My research expands the possibly Encouraging Sculptural Motivations glass between molds containing two-sided for artistic approaches to pressed glass. for Pressing detail (like a waffle-iron) it is possible to roll Additionally, my goal is to make the intensive In 1990, while I was a RISD undergrad, them up into cylinders while maintaining press mold fabrication easier, more intuitive, I glimpsed pressed glass’s aesthetic and high-relief interior and exterior detail. This and ultimately less expensive. To accomplish sculptural potential during my first entry-level effect cannot be created with conventional this I have placed a unique emphasis on glass job on a factory press crew.2 I was mold-blowing. Because the glass begins in a practical studio techniques and materials initially intrigued by the performative spectacle molten state, the process does not require that are compatible with digital design and of pressing glass: transforming glass instantly preheating the way a roll-up typically does. fabrication methods. from molten to solid and then releasing a An extension of this technique, described For my hot glass demonstration at the sculpted, glowing glass form from the press below, combines kilnforming with pressing to 2014 GAS conference, I pressed the following: mold. Importantly, while waiting for these create unique forms and color applications that components for “galaxies,” glass components pressings to cool, I realized that they could still are extremely efficient and could potentially inspired by Islamic architecture, alternative be manipulated while retaining their exterior reduce the amount of glass purchased. mold materials, graphite molds based on detail. Since then, I have spent years using Throughout history pressed glass has Chinese glass motifs, and press-molds made pressed glass at my own studio3 in commer- attracted artists’ attention. Artists like Marcel entirely of sheet glass. In the following cially thrifty, utilitarian ways, and exploiting Duchamp and Joseph Cornell used mass-pro- paragraphs, I summarize the technical and the sculptural potential of the technique. duced pressed glass objects as ready-mades theoretical components of each technique.

s t r e n gt h e n i n g c o mm u n it y , c o l l ab o r ati o n , f o r gi n g n e w b o n d s 51 Mark Hursty, Jali Pressing Montage

Tooling (RT). Rapid Tooling is an alternative of the Western glass traditions that relied on use of rapid prototyping (RP) and refers to the lead/barium-based glass. During the Han rapid production of tools and infrastructure for Dynasty (206BCE-220ACE) glass was sometimes use in manufacturing, rather than simply for used as a substitute for jade. It was also Mark Hursty, Jali Screen prototyping finished objects. Using RT for believed to have anti-decaying properties, and making pressed glass molds has the potential was often used in a spiritual context for burial Pressing Galaxies: Miniaturization, to be an entry-level process that integrates ceremonies. Glass would often take the form Hole Forming and Practical Mold digital techniques with hot glass work. of celestial disks known as Bi (Chinese-币) Fabrication A strictly practical feature of this mold is and would make-up burial garments that I showed a process for prototyping pressed that both the base and the plunger are detailed looked like suits of armour comprised of disks components for miniature “galaxy” for pressing pattern into both sides. The base rectangular pressed glass components.8 chandeliers, a smaller commissioned version plate detail is retractable and can be adjusted First, for my reinterpretation of the Bi, of Josiah McElheny’s “Island Universe” to create variable shapes.7 Once the glass is I expediently created circular molds for each sculpture.5 The commission’s relevant qualities pressed in the first mold and has achieved a garment segment by cutting graphite with were primarily problem solving: a reduction in surface pattern, it can slide onto the secondary electrical hand tools. I then demonstrated a scale of the original sculpture, creating uniform shaping mold while it is still hot. technique for making through-holes by creating glass disks, creating a molten hole forming a form for the molten glass to surround, rather than drilling, and the practical use of Paper Molds as Alternative which was placed into the mold and removed, sheet metal techniques, rather than impractical Mold Materials leaving a hole. industrial milled, cast metal molds. next I demonstrated a press mold made second, the garment segment I created from paper and glue, a low-tech alternative had a hole in each corner of the rectangle Veil Molds: Perforated Screens to metal. In this case, the paper mold helps (for threading to other segments), and used and Stalactite Vaulting form the glass before its final shaping by a mechanical pencil leads formers, inserted into The following process was used to create secondary mold. The relatively brief contact tiny fittings in the mold. Rather than removing an architectural screen comprised on glass of molten glass and press-mold shows that them, they were left in the pressed and multiples covered in stalactite-vaulting forms, some flammable materials can be used for annealing glass for removal later. The simplicity or muqarnas, inspired by Islamic architecture.6 press-molding. of pressed glass hole forming belies its This two-part mold process has many advan- importance as a technique that can reduce tages and implies further applications, Celestial Disks and Subterranean Armour: or eliminate coldworking. including digital machining for creative Chinese Funerary use of Pressed Glass pressing. The digitally fabricated components for Bi and Burial Garments Compatible Sheet Glass Molds for the mold were waterjet cut then hand Celestial Disks are classical Chinese This mold-pressed glass system demon- fabricated. Using CAD/CAM for the design objects that I reinterpreted using pressed strated a practical and creative application and manufacture of press-molds resonates glass. They are particularly significant because of rapid tooling for pressing. In this process, with an emerging methodology called Rapid they appear to have developed independently the traditional components of mold, plunger

52 T h e G l a s s A r t S o ci e t y • 2014 Journ a l • C h icag o , I l l i n o i s and finished object are literally fused together. should design joinery features in the mold, The single-use mold and plunger are made of such as formers for making holes and notches. water-jet cut segments of System 96® sheet I demonstrated a series of processes based on glass, which interlock to form an open topped these principles in which molds made entirely box. Hot glass is poured into the preheated from fusible sheet glass. I also showed how glass box, then pressed using the pre-heated digital rapid tooling techniques can enable the glass plunger, fusing all of these elements artist to work creatively with glass pressing. (box, hotglass, and plunger) into one object. The advantages of this approach include This new system marks a departure from press- improved efficiency, and a more streamlined ing glass in conventional metal molds. It also production process compared to blowing, has the potential to replace certain kiln-casting casting, and coldworking processes. This also and blowing operations while offering new provides a model for enhancing traditional design possibilities for glass sculpture. glass processes using digital manufacture. The creative implications of this technique New technologies like waterjet cutting could are numerous. Because these elements are enhance design possibilities by mixing digital fused in seconds and can be annealed like and manual processes. In this way, the field of blown glasswork, the system could prove to be creative hot glass can thrive alongside digital a quick and efficient substitute for some kiln- manufacturing. Mark Hursty forming and casting operations. Because the I would like to thank GAS, J.J. Riviello, and glass is not surrounded by investment material, West Supply for hosting this demonstration. the kiln programs are considerably shorter. I also extend a special thanks to Kuhn Notes: This technique also offers complex cantilevered Vanderstukken and Sheridan College for 1. An international operating platform, dedicated to new strategies in glass art education and colored details, visual effects unique to assisting with the preparations for this demo. www.theglassvirus.tumblr.com this process. This process could also transform I successfully tested these experimental 2. Pairpoint Crystal in Sagamore, MA is a namesake traditional kiln-fused roll-ups. Instead of using molds for the first time at Sheridan College. factory that ties, through the Mt. Washington Glass company and the original Pairpoint factory’s press 100% factory made sheet glass, only enough An extra thanks goes to Sheridan students Rob equipment, to Deming Jarves, a glass factory owner sheet glass to form the exterior glass-forming Raeside, Kristian Spreen, Stephanie Baness, and designer who received the first pressed glass box would be required. The rest could be filled and Alfred student Chelsea Leung for assisting patent in 1824 and is best known as an inventor, by relatively inexpensive compatible furnace with this demonstration. Lastly, thank you to and later an author, who espoused the use of semi- automated pressed glass equipment. The factory still glass. This technique also could also take my Chinese glass colleagues, Gong Kehai, presses glass using the antique presses. advantage of screenprinted decals to embed Jiao Bo, and Liu Shi Jun. We worked together 3. Hurstin Studio Glass and Metal, established 1999 dimensional imagery in glass. Because the for a year in Shanghai making glass sculptures. in Hamilton, MA. www.markhursty.com 4. Dick Marquis, Amy Rueffert, and Amber Cowan each glass “mold” segments are interlocking, with Both GAS and I sent them official invitations use pressed glass in their sculptures. Frantisek overlapping and penetrating edges, the edges to attend the Chicago conference, but they Vizner, a master of pressed glass design emblematic can be emphasized to create details that are were still unable to make the trip. of fine creative pressing in the Czech glass industry, difficult to achieve in kiln casting. Alternatively, used the aesthetic of pressing in his elaborate ______cold-worked sculptures. Rene Lalique, known for like a veneer, this process might be used to his Art Nouveau style glass, provides the best-known color the surface of various hot cast objects. Mark Hursty – Since he began pressing glass examples of French creative pressed art glass. in Sandwich, Massachusetts in 1990, this 5. Currently, John Lewis, Josiah McElheny, and Conclusion ancient but artistically maligned manufacturing elizabeth Kelly are artists who are producing pressed glass for sculptural aims. It should also be noted My intent for the GAS demonstration was process has shadowed him. He continued that Wheaton Arts and Cultural Center in Millville, NJ to introduce accessible methods of pressing pressing as a student (RISD’93 BFA, Alfred’08 has pressed glass equipment available for artistic use. glass to the studio glass community by provid- MFA), at his hot shop, Hurstin Studio Glass 6. I have presented a paper on this process at the 2014 International Symposium of Electronic Art ing a range of examples adapting pressed and Metal (1999-present), as Jacksonville (ISEA) in Dubai. glass for practical artistic use. The best way to University’s glass program head (2008-10), and 7. An extension of this telescoping mold technique make pressing more practical is to make the in various Chinese university glass programs is a “pin-screen” that is capable of making variable mold fabrication process easier. I approached as a 2011-12 China Fulbright fellow. Currently, shapes. The term for such a mold is “reconfigurable pin tooling” (RPT), which, as evidenced in Tavs this by using digital fabrication to make simple he is developing sculptural pressed glass as Jorgensen’s slumped glass research is another molds. The primary way to simplify the mold a researcher at the University of Sunderland’s potential use of rapid manufacturing for shaping making process is to create flat press molds National Glass Centre, UK. Hursty’s aim in glass. Chicago was to expand and economize Studio 8. Additional use of funerary jade included covers with carved detail, and a secondary mold and plugs, and glass substitutes that were inserted to manipulate the glass while hot to make Glass’ toolbox by reacquainting GAS participants in and over the body’s nine orifices to stave off volumetric shapes. Wherever possible one with ancient and contemporary pressed glass. decay in the afterlife.

s t r e n gt h e n i n g c o mm u n it y , c o l l ab o r ati o n , f o r gi n g n e w b o n d s 53