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]

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.

After firing all the objects, they were observed with a observed residual stress was acceptable. This study allowed polariscope Sharple Senarcon Strhin to check for stresses the development of mew glasses, and also the improvement inside the pieces. Finally the glass was polished eroding the of new annealing schedule, as well new methods for the surface with abrasives and a further treatment with a mixture verification of stresses inside the glass [16]. of hydrofluoric and sulphuric acids [14]. The other objective was to study luminescent glass enamels that fire at low temperatures (below 565ºC). LUMINESCENT ART WORKS This is an important issue, so there is no deformation of the glass shape when the enamel application is made. The search Un/fragility in monochromatic versus polychromatic for low firing glass enamels is very challenging. The research began by experimenting several recipes in order to “Glass is a unique material for sculpture, and it is a reach luminescent low-melting enamel. contemporary material. It is unique because no other Regarding the research for the Postdoctoral, it is the medium has the ability to change color, texture, and, central to continue the study of the luminescent glass, its seemingly, mass” [17] proprieties and progress with it. The main goal is the study and production of luminescent vitreous enamels for The art pieces present a multiplicity of dissimilar concepts application on glass and ceramics surfaces, having always in that come together in numerous projects, and where glass is mind that these materials should be used for artistic propose. the primary medium in the work of art, particularly luminescent glass. The idea of fragility, created by the glass remains in the appearance of the pieces of art, such as in the work “the deep coral into the ocean 00” (Figure 2) or in the work “subtle RESULTS AND DISCUSSIONS movements of the corals in the Blue Ocean I and II” (Figure 3). However, in their veracity they have a subtle sensibility, Compatibility tests of the different glasses were made using of pure lightness, projected in an idyllic atmosphere. The a dilatometer in the temperature range of 25 to 300ºC. The spectator enjoys the sensation that they will break at the results obtained for the glasses with all rare earth oxides slightest touch. Nevertheless, they have an extreme interior showed that all the glasses used were compatible. Usually strength and their fragility is sometimes merely apparent. two glasses are considered compatible when the difference Similarly, people who have a fragile appearance, a serene between their thermal expansion coefficients is less then -6 -1 and lost look, must not be judged by their character and 0.5x10 K [15]. The thermal expansion coefficients physical appearance but also by their inner strength, which, obtained for the glasses doped with different rare earth sometimes, is highly valuable. The relationship between the oxides were the following: Sm, 9.53x10-6 C-1, Tb, 9.80x10-6 -1 6 -1 -6 -1 -6 -1 human being and art is always present in the produced C , Ce 9.76x10 C , Eu 9.90x10 C , Dy 9.60x10 C and pieces of art. Delicate forms can be found at the bottom of Tm 9.68x10-6 C-1, so the differences are less then 0.5x10-6 C- 1 the piece embracing and protecting the same. . The light changes the formal composition of the pieces The firing schedules tested allowed the determination of presented, it alters its surface, colour and shape. The the highest temperature allowed for different annealing alteration of light raises the inquisitiveness of the observer: techniques. For instance, regarding the casting technique, it the visualisation of the piece in its two distinct forms, the was visualized that a higher temperature, 890ºC provides monochromatic colourless and the lightning colourful. devitrification confined to the surface of the glass piece. The The pâte de verre pieces have a textural lightness, a best result was achieved between the top temperatures of subtle form, tranquil and with a distinct allure, encouraging 830-850ºC, for two hours. Regarding the pâte de verre contemplation. Its facet, so fragile at first glance, appears as technique, the schedules were determined for hollow pieces it will break easily... however they are in fact stronger. The with and without talc. The temperature range is between 730 pieces are very light and this appearance creates a sensation - 770ºC. The exact temperature will be defined depending on of levitation... the desired surface: for granular surface 730ºC will be used, whereas for a smooth granular surface, 780 ºC. It was also “The best artworks announce themselves simple, found that the transparency/opacity of the glass surface although their genesis and their means of transmission depended on the size of the frits. Smaller frits gave less are anything but simple” [18]. transparent glasses. For the durability of the art works several annealing tests were made and it was found that the best annealing temperature range is 520-540ºC with a strain point of 470ºC. To prove that the glass was well annealed, each object was checked in a polariscope. Among the casted glass pieces some of them did not indicate any stress, while in others the

recreating and developing organic shapes and transforming them into pieces of art. The icebergs, volcano laves, rocks formations and drops of rain are a constant presence in my work.The elements in the pieces interact with each other as a living matter, emerging from the ground of the earth. In their interior we can see cavity, like the inner light of Libenský and Brychotová pieces [20]. They are like the hole of the soul… the spirit that lives inside the elements… The form and the density of the colorless transparent glass influence how the pieces hold the light that passes through them. They are autonomous in their luminous metaphoric quality. There is a duality between coarseness and polished surfaces, opacity and transparency of materials and the seduction of colour is determinant in all creative processes. The polished surface allows the spectator to analyse the interior of the work. It is like a window through which the

viewer can see the inner activities. [21] FIGURE. 2 PIECE “THE DEEP CORAL INTO THE OCEAN 00”, 2008|09, TOP: DAYLIGHT, The casting pieces materialize from the ground as BOTTOM: UV LIGHT. solid structures that are trying to reach the sky. They produce forms and fluid movements that emerge from the transparency of the glass colour. As they are represented in the pieces: “nature changes sometimes” and “thoughts of a dream” (Figure 4).

FIGURE. 3 PIECE “SUBTLE MOVEMENTS OF THE CORALS IN THE BLUE OCEAN I AND II”,2008, UV LIGHT.

Glass sculptures

The sculptures made with luminescent glass produce subtle FIGURE. 4 light effects, forms and fluid movements, which emerge PIECE “THOUGHTS OF A DREAMI”,2008/09, CASTING, UV LIGHT. from the transparency of the glass and the emission of the light. At first glance we have a simple, monochromatic composition, just an uncoloured transparent glass and, afterwards, when exposing it to ultraviolet light, a new CONCLUSIONS harmonious chromatic effect is accomplished. The works transform with different light settings, where the colours The studied luminescent glasses show that they can be used interact with each other in a harmonious environment. The either in the casting, bowing and pâte de verre techniques. observer is far from imagining the transformation that would The light effects involving several colours are exceptional. occur. As Adorno said, all the art pieces are enigmas... [19] The interface between art and science is double and of The glass work implants some feelings on the observer, but great significance. Today the artist is not merely the lonely they also hide a mystery. The intention is to transport the person that isolates himself/herself from the surrounding viewer to a new reality, a dream world... a fairy-tale... world. Many are the collaborations of art and science and My first explored sculptures are very much these interactions will continue in the future. connected with nature, where inspiration was found,

The study of luminescent glasses shows that they can be [16] Coelho, J M, P, Silva, C, Almeida, T, “Stress Analysis in Glass used for glass art pieces in different techniques. The Artwork”. International Journal of Optics, Article ID 215404, Volume, 2011. compatibility tests proved that the glasses with different lanthanides can be mixed, and the use of metallic oxides in [17] Oldknow, Tina, Contemporary Glass Sculptures and Panels. Selection from the Corning Museum of Glass, Corning Museum of Glass in the luminescent glass shows that when the concentration of association with Hudson Hills Press, New York, 2008, pp 7. the metallic oxide increases the luminescence decreases. [18] Geczy, A,”Art: histories, theories and exceptions”. United Kingdom, Berg, 2008, pp1. [19] Adorno, T, “Teoria Estética”, arte e comunicação, edições 70, LDA, 2000, pp186. ACKNOWLEDGMENT [20] Frantz, S, “Stanislav Libensk/ Jaroslava Brychotová”, Corning The work developed was supported by the project SFRH / Museum of Glass, Harry, Prestel, Alemanha, 1994, pp 42-52. BD / 30684 / 2006. [21] Hehlmann, R, “The inner light. Scukptures by Stanislav Libenský & The author would also like to thank the Fundação para a jaroslava Brychtová”, Museum of Glass International Center for Contemporary Art, in association with University Washington Press, Ciência e Tecnologia (FCT) for financial support (REF: 2002, pp 28-85. under contract: SFRH / BPD / 73356 / 2010, and VICARTE. .

REFERENCES

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