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ART/SCIENCE: a Case Study of Luminescent Vitreous Materials

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ART/SCIENCE: a Case Study of Luminescent Vitreous Materials ART/SCIENCE: A case study of luminescent vitreous materials Teresa Almeida1 Abstract Light operates today in the art field as an concepts, often using the same subjects to the same end. interaction between space and surface, between the beholder Giving birth to ideas and forms is what makes and artist or and the works. Throughout Art History, it has been scientist” [4]. constantly noticeable that artists are interested in new ideas “The relationship between Art & Science addresses and developments of the scientific areas. The relationship several art forms, such as installation, video, sculpture, between artists and scientists has been explored for a long performance, ceramics, holographic art, digital art, and time. They have a unique and peculiar rooting, a demand on several scientific and technological fields, such as the discovery of something new. In this paper it will be biology, medicine, engineering, telecommunications, presented the dichotomy between art and science with a case physics, informatics, etc. With such a huge field of study of the production of luminescent materials: exploration, this subject needs to be carefully approached luminescent glass and its application in art works, and also and framed in order to enable an accurate research and luminescent vitreous enamels for application on glass and thinking” [3]. ceramics Numerous fluorescent materials, also designated as Index Terms luminescent materials: ceramic, glass, glass smart materials, are being developed to be integrated in enamels, ceramic enamels architecture and many designers and artists are using them in their artistic work. These materials are mutable, changing and reacting to their direct or indirect surroundings with INTRODUCTION varying light or temperature. In 1994 Ruth Handschin, constructed a “Light installation” at the Hotel Teufelhof in The work presented in this paper focuses on the research Basel, Switzerland, with the use of fluorescent and made for a PhD dissertation in Art Studies [1] where the phosphorescent pigments. Applied as paint with an acrylic interfaces art/glass and glass/science where combined in a binder, the artist made lines on the ceiling of the rooms, multidisciplinary work, intertwining different and creating luminous rooms. The Finnish designer Hannaliisa contradictory fields. And also the research that is being Hailahti made in 2005 a piece with luminous fabric from conducted in the Postdoctoral investigation where to glass it phosphorescent and metallic silver reflective threads [5]. was also added the ceramic material. Luminescent glass that glows with different colours During the PhD it was developed new materials such as under ultraviolet light is now starting to be explored in art, the luminescent glass and luminescent enamels for glass, although the luminescent properties of the rare-earth oxides during the Postdoctoral the research will be extended to the have been studied thoroughly by scientists [6]. development of transparent luminescent enamel for For Robyn Stewart, research is about navigation, his ceramics. practitioner-based research is to conceptualise it as critical, as well as an investigation practice [7]. ART/SCIENCE “Thus practitioner-based research is concerned with “Throughout Art History, it has been increasingly process for theorising practice, using appropriation, noticeable that artists can profit from new ideas and pastiche and collaboration as basic tenets” [7]. developments in science. Both artists and scientists have a unique and peculiar rooting, a demand on the discovery The artist in order to work with luminescent glass art of something new” [2]. has to understand the material, how it works, what influences its intensity and colour and which raw materials History narrates many events where this relationship is can be used for its preparation. visualized. Nowadays, art explores science and technology In short, with a bridge between laboratory and atelier, in numerous ways, such as: using, appropriating, the material glass and its secrets are opened to aesthetic reformulating, inspiring or being inspired by scientific and creativity. The collaboration between artist and scientist is technological progress [3]. It is not only that science crucial for the evaluation of new materials and new artistic influence art, but also art influence science. It is a mutual concepts. Although the approach of the artist to the field of relationship. “Together, art and science develop innovative science is much versified, some are that create works 1 i2ads research institute in Art, Design and Society, Faculdade de Belas Artes da Universidade do Porto, Rua Rodrigues de Freitas, Porto, Portugal. VICARTE, research Unit Glass and Ceramics for the Art, Faculdade de Ciências e Tecnologia da Universidade Nova de Lisboa, Monte da Caparica, Portugal, [email protected] DOI 10.14684/WCCA.6.2013.12-16 © 2013 COPEC April 04 - 07, 2012, Geelong, AUSTRALIA VI World Congress on Communication and Arts 12 highlighting the aspects of science; others build on areas as science and arts, would be of interest to artists and formulations of a research done previously and use a process scientists throughout the world; and also at CRISFORM, of experimentation and also a theoretical elaboration [8]. Marinha Grande, Portugal, which was a non-profit public “It is difficult for one person to embrace all the institution that provided professional training and research in complexities of glass. When terms are created to the area of glass2. facilitate technological collaboration, the work is Another research was the introduction of metallic oxides imbued with new impulses, possibilities and strength was also explored together with the rare earths to obtain which furthers development. Every new idea requires coloured glasses, instead of colourless ones under visible practical support” [9]. light. An interesting feature introduced by these oxides is the attenuation or extinction of the luminescence. It was used manganese oxide (MnO2), copper oxide (CuO) iron oxide EXPERIMENTAL RESEARCH (Fe2O3), chromium oxide (Cr2O3), cobalt oxide (CoO), cadmium sulphide (CdSO ), selenium (Se) and also erbium Luminescent glass is a colourless glass under day light and 4 oxide (Er2O3) [1]-[2], [9]. With the outcome achieved during under the ultraviolet light emits different colours according the investigation, it was able to obtain a wide colour pallet to the different lanthanide oxide introduced In the glass for the artistic propose (Figure 1). produced with a composition consisting of SiO2, Al2O3, Na2O, CaO; MgO, K2O, B2O3, BaO, CoO; Se; Sb2O3, F2O3 only six oxides were introduced, as they are the ones which give luminescent colour. The emission of light with different colours under ultraviolet radiation (wavelength ca. 380 nm) is achieved by adding lanthanide oxides to the glass raw materials [10]. The glasses produced were mainly soda-lime silicate glasses and the lanthanide oxides were ca. 2% (%wt) of europium (Eu2O3) that gives a red colour, terbium (Tb7O4), green colour; cerium (CeO2), blue; dysprosium (Dy2O3), yellow; thulium (Tm2O3), violet and 3,78% (w/w) FIGURE. 1 samarium (Sm2O3) a orange colour [1]-[2], [9] (Table 1). LUMINESCENT GLASS WITH DIFFERENT OXIDES, FROM LEFT TO RIGHT: EUROPIUM WITH (MNO3), TERBIUM WITH (ER), CERIUM WITH (CDSO4), TABLE I CERIUM WITH (SE), CERIUM WITH (FE2O3), DYSPROSIUM WITH (CR2O3), LANTHANIDE USED AND COLOUR GIVEN TERBIUM WITH (COO), EUROPIUM WITH (CUO) EUROPIUM WITH (FE2O3) AND TERBIUM AND (CUO). THE GLASS SAMPLES ON THE TOP ARE ILLUMINATED WITH DAY LIGHT, AND THE SAMPLES ON THE BOTTOM WITH UV LIGHT. One of the main objectives of this work was to study the effects of light in art works using luminescent glasses under ultraviolet radiation. The use of different coloured and colourless is explored with different techniques: kilncasting (casting and pâte de verre), fusing and glass blowing. Glass sculptures were made using several techniques: kiln casting, pâte de verre, slumping fusing and blowing. In the kiln casting technique silica/plaster moulds where used and the glass was placed inside [11]. Glass billets and granular glass for kiln casting and grains, frits and powder for pâte de verre were used. Different earth oxides where mixed in order to achieve new colours for the pâte de verre technique. Several firing schedules were tested [12]-[13] in order to All the research was conducted Unit VICARTE “Glass and accomplish the best results, avoiding stress or fractures in Ceramic for the Arts”, at Faculty of sciences and technology, the pieces. Lisbon new university. VICARTE aims to be a multidisciplinary research and development centre for the 2 study of glass and ceramics. Its main objective is to join Because of the difficult economical condition of country, this public institution was close by the government in 2011. However, CENCAL (with specialists in art, science, technology, history, archaeology, a professional training in ceramic), is now responsible for, trying to and conservation of glass and ceramics. This project, maintain the compromises that CRISFORM had. Although the glassblowing proposing a pioneer encounter of know-how in so different facilities are only open a few months (not the all year) and the research of the luminescent glass clogged. © 2013 COPEC April 04 - 07, 2012, Geelong, AUSTRALIA VI World Congress on Communication and Arts 13 After firing all the objects, they were observed with a observed residual stress was acceptable. This study allowed polariscope Sharple Senarcon
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