Calligraphic Glass: Making Marks with Glass

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Article Calligraphic Glass: Making Marks with Glass

Ayako Tani

North Bridge DTP, University of Sunderland, Sunderland SR1 3SD, UK; [email protected]

Received: 30 November 2018; Accepted: 3 January 2019; Published: 15 January 2019

Abstract: Calligraphic glass is one of the newer developments in contemporary glass art. The long-standing tradition of calligraphy is a rich source of inspiration for the glass artist, glass being a relatively new material for spontaneous mark-making. The investigation of the calligraphic quality of artworks ultimately leads to a discussion of human body movement, because mark-making is fundamentally a kinetic exercise. Often, the artist’s psychological and physical state is more important than the resultant marks. Building upon my doctoral research, which introduced the basic idea and techniques of ‘calligraphic lampworking’, this paper develops the discussion mainly regarding how the artist’s body movement may be manifested as spatial traces made from glass lines.

Keywords: glass; lampwork; calligraphy; line; movement

1. Introduction The interdisciplinary research ﬁeld of calligraphy and glass has been thriving in recent years. A number of practice-based researchers specialising in a variety of glass techniques, namely furnace-work and cold-work (Wang 2012), lampwork (Tani 2014), inside painting (Guo 2016), pâte de verre (Qu 2017) and kiln casting (Labatt 2018), have discussed the material characteristics of glass in comparison to ink and developed the uses of glass for calligraphic expression. Current doctoral projects in the UK include a development of calligraphic glass sculpture using metal oxides for tones (Shi 2018) and the recrafting of waste glass (Pailing 2018), both at the University of Sunderland.1 Pailing’s research does not directly refer to calligraphy, although she is interested in the calligraphic quality found in waste pieces of glass. Calligraphy has been a medium of self-expression for centuries. This is in contrast to glass, which was only freed from the factory environment for artists through the Studio Glass Movement in the latter half of the twentieth century. Glass is a relatively new material for artists, especially for those who embrace the spontaneous ﬂow of molten glass and accidental shapes over the perfect control of the material. Perhaps it is natural for these glass artists to seek inspiration for mark-making from the long-standing tradition of calligraphy. I research and practise the lampwork technique, where glass rods and tubes are melted and shaped on an oxygen-propane burner.2 My doctoral research applied anthropologist Tim Ingold’s (2007, pp. 39–52) ‘taxonomy of lines’ to the analysis of various line forms in glass art, developing additional categories of lines from the point of view of the lampwork practitioner. Most importantly, I advocated the use of the term ‘spatial traces’ (Tani 2014, pp. 91–94) to describe how molten glass can record its own trajectory when drawn by a movement in space. I argued that

1 University of Sunderland accommodates the International Research Centre for Calligraphy (IRCC) and the National Glass Centre (NGC), creating a thriving environment for calligraphic glass research. 2 The name ‘lampwork’ is derived from the use of oil lamps, which were employed for glassmaking in the 17th century when this technique developed in Europe. Today, burners for glasswork often use propane and oxygen gas sourced from liquid gas tanks.

Arts 2019, 8, 12; doi:10.3390/arts8010012 www.mdpi.com/journal/arts Arts 2019, 8, x FOR PEER REVIEW 2 of 9

Arts 2019, 8, 12 2 of 9 material which enables the embodiment of spatial traces, and I developed the concept of ‘calligraphic lampworking’ to demonstrate the idea of capturing the hand’s movement in glass (Tani glass2014, ispp. a rare215–46). material which enables the embodiment of spatial traces, and I developed the concept of ‘calligraphicOver the last lampworking’ several years, to demonstrateI have demonstrated the idea and of capturing lectured thewidely hand’s in the movement UK and in China. glass (TheseTani 2014 encounters, pp. 215–46). through teaching were beneficial not only for the dissemination of research but also Overfor observing the last several people’s years, reactions I have to demonstrated the idea of andusing lectured glass as widely a drawing in the UKmedium. and China. A series These of encountersinterviews with through calligraphers teaching werewho beneficialwere undertaking not only projects for the dissemination at the International of research Research but alsoCentre for observingfor Calligraphy people’s at the reactions University to the of idea Sunderland of using glassraised as interesting a drawing suggestions medium. A about series the of interviews criteria of withcalligraphic calligraphers marks. who The were hand undertaking and body are projects the tran at thesmitting International devices Researchfrom brain Centre to the for material, Calligraphy but atoften the in University calligraphy, of Sunderland the body movement raised interesting itself becomes suggestions the centre about of the philosophical criteria of calligraphic attention as marks. it is Thesaid handthat and‘calligraphy body are theis transmittingin essence an devices art of from movement’ brain to the (Billeter material, 1990, but oftenp. 11). in calligraphy,For a further the bodydevelopment movement of itselfcalligraphic becomes glass, the centre this paper of philosophical addresses attentionthe artist’s as itbody is said movement that ‘calligraphy and how is init essencemight appear an art and of movement’ be recorded (Billeter in glass 1990 shapes., p. 11). For a further development of calligraphic glass, this paper addresses the artist’s body movement and how it might appear and be recorded in glass shapes. 2. Mark-Making with Glass 2. Mark-Making with Glass 2.1. Capturing Spatial Traces 2.1. Capturing Spatial Traces Ingold (2007) introduced a taxonomy of lines based on his thorough observation of various lines Ingoldand line-making(2007) introduced activities. a taxonomy He identified of lines the basedcategories on his of thorough‘threads’, observation‘traces’, ‘cut, of crack various and linescrease’, and ‘ghostly line-making lines’ activities.(pp. 41–50), He and identified the additional the categories motley ofcategory ‘threads’, of the ‘traces’, ‘lines ‘cut, that crackdon’t andfit’, crease’,which accommodates ‘ghostly lines’ exceptions (pp. 41–50), (p. and51). He the also additional noted that motley the majority category of of lines the ‘linesin the thatworld don’t would fit’, whichfall into accommodates the categories exceptions of either threads (p. 51). or He traces also. noted Threads that are the lines majority that ofcan lines suspend in the themselves world would in fallthree-dimensional into the categories space, of whereas either threads traces orneed traces. to be Threads supported are by lines a surface. that can Threads suspend are themselves a volumetric in three-dimensionalentity, and traces are space, areal. whereas In many traces cases, need it is to also be supportedobserved that by a threads surface. are Threads more arestatic a volumetricand traces entity,are kinetic. and traces This areis because areal. In traces many cases,are often it is alsothe track observed marks that of threads something are more that staticmoved and across traces the are kinetic.surface, Thisas is isthe because typical traces case for are brushstrokes often the track drawn marks on of paper. something Threads that could moved be acrosskinetically the surface, drawn as iswell the if typical ink could case forbe brushstrokespainted onto drawn air, which on paper. is normally Threads inconceivable. could be kinetically Therefore, drawn generally, as well if inkdrawing could has be painteda two-dimensional onto air, which basis. is normally inconceivable. Therefore, generally, drawing has a two-dimensionalBased on this basis. argument, I added ‘spatial traces’ (Tani 2014, pp. 91–94) as a contrast to the usual tracesBased trapped on thison argument,a surface. A I addedgood example ‘spatial traces’ of a spatial (Tani 2014 trace, pp.is the 91–94) pattern as a drawn contrast by to a the musical usual tracesconductor trapped with on their a surface. baton. Although A good example it is intangib of a spatialle, it is trace not a is hypothetical the pattern drawnconstruct by but a musical a real conductormark that withcan theirconvey baton. meaning. Although Tavs it isJorgensen’ intangible,s itglass is not bowl a hypothetical (Figure 1) construct is an example but a real of mark the thatembodiment can convey of meaning.a spatial trace Tavs Jorgensen’sin glass. Jorgensen glass bowl employed (Figure 1a) isdrawing an example device of theconnected embodiment to the ofcomputer, a spatial and trace he in translated glass. Jorgensen his hand’s employed movement a drawing of drawing device a connected circle into to a thecrown-shaped computer, and metal he translatedmould. The his contour hand’s movementof the mould of drawingwas made a circle to the into shape a crown-shaped of the trajectory metal of mould. his hand. The A contour sheet of theglass mould was slumped was made over to the this shape mould of theand trajectory created into of his a hand.round Abowl sheet with of glass the rim was reconstructing slumped over thisthe mouldtrajectory. and The created spatial into trace a round was bowl firstly with only the rimcapt reconstructingured by the eyes the trajectory.of computer, The and spatial it was trace then was firstlyvisualised only in captured glass. by the eyes of computer, and it was then visualised in glass.

Figure 1. Large Green One-liner Bowl (2008) by Tavs Jorgensen.Jorgensen. Arts 2018, 7, x FOR PEER REVIEW 3 of 9

2.2. Calligraphic Lampworking Lampwork glass can give spatial traces tangible forms, because molten glass flows freely and it quickly cools and sets into a shape. The bodily action of stretching molten glass in the air is similar to that of drawing in ink with a brush. Just as the ink mark is a trace of the movement of the hand and brush, the glass, while molten, forms a spatial trace embodying the movement of hot glass manipulated by hand. The line of glass, after cooling, can suspend itself in space and be independent from a surface, which meets the criteria of ‘threads’. However, spatial traces remain as a separate category, as they are characterised by their formative process and are a record of spatial movement. Arts 2019, 8, 12 3 of 9 The spatial traces embodied with glass are calligraphic. Spatially stretching glass and dragging brush on paper are both kinetic operations which create incremental, spontaneous, and irreversible lines.2.2. Calligraphic Among various Lampworking different glass-forming techniques, lampworking is close to ink calligraphy, because the artist can move the glass rod with one hand in the similar way to handling a brush. Lampwork glass can give spatial traces tangible forms, because molten glass flows freely and it Ghost (Figure 2) confirms the technical feasibility of using molten glass in a calligraphic manner, quickly cools and sets into a shape. The bodily action of stretching molten glass in the air is similar to and it demonstrates the amalgamation of calligraphy and the visual connotation carried by clear that of drawing in ink with a brush. Just as the ink mark is a trace of the movement of the hand and glass. In this work, four Japanese characters “ゆうれい” (pronounced as yu-u-re-i) meaning ‘ghost’ brush, the glass, while molten, forms a spatial trace embodying the movement of hot glass manipulated are written in clear glass. These four characters are graphically arranged in the ghostly figure inside by hand. The line of glass, after cooling, can suspend itself in space and be independent from a surface, the frame, and the frame is suspended from the ceiling to achieve the floating effect. The fleeting which meets the criteria of ‘threads’. However, spatial traces remain as a separate category, as they are shadow also forms a ghostly trace. As the suspended sculpture slowly sways, the projection of the characterised by their formative process and are a record of spatial movement. shadow comes in and out of focus, enlarging and blurring. The spatial traces embodied with glass are calligraphic. Spatially stretching glass and dragging This work questions our perception of dimensionality. It is a mass of material, which is brush on paper are both kinetic operations which create incremental, spontaneous, and irreversible physically a three-dimensional object, but people see and discuss the dimensions in artwork more lines. Among various different glass-forming techniques, lampworking is close to ink calligraphy, conceptually and intuitively. It can be argued that Ghost is more than a three-dimensional object because the artist can move the glass rod with one hand in the similar way to handling a brush. because the shadow adds extra layers of meaning to the work. On the other hand, it could be seen as Ghost (Figure2) confirms the technical feasibility of using molten glass in a calligraphic manner, less than three-dimensional because the clarity of glass flattens the volume. Being able to observe the and it demonstrates the amalgamation of calligraphy and the visual connotation carried by clear glass. full shape from a single viewpoint normally only applies to two-dimensional work such as painting. In this work, four Japanese characters “ゆうれい” (pronounced as yu-u-re-i) meaning ‘ghost’ are Sculptures made of opaque material must be viewed from behind to appreciate their entire shape. It written in clear glass. These four characters are graphically arranged in the ghostly figure inside the is a special condition of clear material like glass that the back side of the object can be seen through frame, and the frame is suspended from the ceiling to achieve the floating effect. The fleeting shadow the volume. In addition, the volume of glass can enable the viewer to see optical effects caused by reflectionalso forms and a ghostly refraction. trace. The As dimensionality the suspended of sculpture clear glass slowly is difficult sways, to thequantify projection and, therefore, of the shadow I call itcomes ‘multi-dimensional’ in and out of focus, or ‘trans-dimensional’ enlarging and blurring. (Tani 2014, p. 109).

Figure 2. GhostGhost (2010)(2010) by by Ayako Ayako Tani. Lampworked borosilica borosilicatete glass and wood frame. Variable size.

This work questions our perception of dimensionality. It is a mass of material, which is physically a three-dimensional object, but people see and discuss the dimensions in artwork more conceptually and intuitively. It can be argued that Ghost is more than a three-dimensional object because the shadow adds extra layers of meaning to the work. On the other hand, it could be seen as less than three-dimensional because the clarity of glass flattens the volume. Being able to observe the full shape from a single viewpoint normally only applies to two-dimensional work such as painting. Sculptures made of opaque material must be viewed from behind to appreciate their entire shape. It is a special condition of clear material like glass that the back side of the object can be seen through the volume. In addition, the volume of glass can enable the viewer to see optical effects caused by Arts 2019, 8, 12 4 of 9 reflection and refraction. The dimensionality of clear glass is difficult to quantify and, therefore, I call itArts ‘multi-dimensional’ 2018, 7, x FOR PEER REVIEW or ‘trans-dimensional’ (Tani 2014, p. 109). 4 of 9 2.3. Focus and Sub-Consciousness 2.3. Focus and Sub-Consciousness Calligraphers say that brush strokes can convey something about the core of an individual’s Calligraphers say that brush strokes can convey something about the core of an individual’s inner quality. It is because the artist’s state of mind affects their actions, and appears in the resultant inner quality. It is because the artist’s state of mind affects their actions, and appears in the resultant line. Therefore, the investigation and development of the calligraphic line ultimately leads to a line. Therefore, the investigation and development of the calligraphic line ultimately leads to a philosophical discussion about the relationship between the mind and bodily movement. A notable philosophical discussion about the relationship between the mind and bodily movement. A notable theme is the question of whether more successful work comes from a focused mind or is the result of theme is the question of whether more successful work comes from a focused mind or is the result of the subconscious. the subconscious. The glass marks shown in Figure3 are waste glass pieces which artist Helen Pailing collected from The glass marks shown in Figure 3 are waste glass pieces which artist Helen Pailing collected the studio of Brian Jones, a scientific lampworker at the National Glass Centre. As seen in the picture, from the studio of Brian Jones, a scientific lampworker at the National Glass Centre. As seen in the she thoroughly painted them in florescent orange paint to highlight their shapes. Each of these pieces picture, she thoroughly painted them in florescent orange paint to highlight their shapes. Each of was originally an excess section of a glass tube, which was heated, squashed, twisted, and pulled away these pieces was originally an excess section of a glass tube, which was heated, squashed, twisted, in the course of making some kind of product. These marks were produced by Jones’s hands and they and pulled away in the course of making some kind of product. These marks were produced by freeze the moment of when they were made. However, Jones’s attention must have been paid to the Jones’s hands and they freeze the moment of when they were made. However, Jones’s attention product he was making at that time, and probably he removed and threw these fragments into the bin must have been paid to the product he was making at that time, and probably he removed and as part of a subconscious routine. threw these fragments into the bin as part of a subconscious routine. Rejections are slightly different from waste fragments. Figure4 shows rejections of my artwork Rejections are slightly different from waste fragments. Figure 4 shows rejections of my artwork Ghost (Figure2). I drew a hundred ‘ghosts’ to get one piece which satisfied my aesthetic criteria, Ghost (Figure 2). I drew a hundred ‘ghosts’ to get one piece which satisfied my aesthetic criteria, and and all other weaker pieces were rejected. Each of these pieces was drawn with a focused mind. all other weaker pieces were rejected. Each of these pieces was drawn with a focused mind.

Figure 3. Vibrant Matter (2017)(2017) by Helen Pailing. Waste Waste glass and acrylic paint. Variable size.

Discussions with calligraphers reveal that focusfocus and subconsciousness, which are seemingly oppositional states of mind,mind, mightmight bebe closelyclosely linked.linked. Subconscio Subconsciousnessusness is perhaps shrouded in consciousness. One One of of the the calligraphers calligraphers used used a atennis tennis player player as asan anexample example to explain to explain this. this. When When the thetop topplayers players hit hitthe theball, ball, they they do donot not think think about about their their steps steps or or raising raising their their arm arm but but their their body automatically reacts.reacts. TheyThey areare extremely extremely focused, focused, not no tot to take take control control of of their their body body movement, movement, but but to letto itlet happen it happen without without the interposition the interposition of their of mind. their And, mind. this And, state this can onlystate be can achieved only be by achieved considerable by practiceconsiderable and experience.practice and My experience. repetitive ghost-makingMy repetitive wasghost-making a focused processwas a focused of practice process and experienceof practice developmentand experience in orderdevelopment to polish myin mentalorder to and polish technical my skillsmental so thatand my technical movements skills almost so that became my subconscious.movements almost Pailing’s became collection subconscious. of waste marksPailing’s was collection an alternative of waste way marks to achieve was thean alternative happy accident way ofto aachieve master the maker. happy In accident this case, of subconsciousnessa master maker. In was this contrived case, subconsciousness by blocking the was communication contrived by betweenblocking thethe handcommunication and the mind between by using the twohand individuals. and the mind by using two individuals. Getting focused to surrender the mind to subconsciousness is the practice of Zen meditation. One of the exercises is called Ensō drawing, where a full circle is drawn with one uninhibited brushstroke. Zen monks have drawn these over the ages for “expressions of their understanding of life” (Flint-Sato 2014, p. 39). Sunny Wang brought this practice to glass (Figure 5). She took molten glass from the furnace and drew a circle within one breath. She created an installation of a hundred of these glass circles, each representing one of her breaths. Controlling breath is an integral part of calligraphic mark-making. The ‘Chi’—the flow of energy—in East Asian philosophy literally means

Arts 2018, 7, x FOR PEER REVIEW 5 of 9

Artsbreath.2019 ,Calligrapher8, 12 Manny Ling (2008, p. 174) suggested that the ‘Chi’ and the sense of putting vital5 of 9 energy into mark-making can be shared by different cultures.

Arts 2018, 7, x FOR PEER REVIEW 5 of 9 breath. Calligrapher Manny Ling (2008, p. 174) suggested that the ‘Chi’ and the sense of putting vital energy into mark-making can be shared by different cultures.

Figure 4. RejectedRejected parts of Ghost by Ayako Tani.

Getting focused to surrender the mind to subconsciousness is the practice of Zen meditation. One of the exercises is called Enso¯ drawing, where a full circle is drawn with one uninhibited brushstroke. Zen monks have drawn these over the ages for “expressions of their understanding of life” (Flint-Sato 2014, p. 39). Sunny Wang brought this practice to glass (Figure5). She took molten glass from the furnace and drew a circle within one breath. She created an installation of a hundred of these glass circles, each representing one of her breaths. Controlling breath is an integral part of calligraphic mark-making. The ‘Chi’—the ﬂow of energy—in East Asian philosophy literally means breath. Calligrapher Manny Ling(2008, p. 174) suggested that the ‘Chi’ and the sense of putting vital energy into mark-making can be shared by different cultures. Figure 4. Rejected parts of Ghost by Ayako Tani.

Figure 5. The Glass Circles (2013) by Sunny Wang. Detail.

2.4. Marks of Life in Glass We strive to leave our mark on the world, but sometimes this is achieved unknowingly. Figure 6 shows a section of a lease-rod reclaimed from a vintage weaving machine. The machine had a set of these rods, which kept warp yarns in position. Glass was used for this purpose because it did not damage the strings like metal and lasted longer than wooden rods. On the surface of the rod, a set of four notches can be observed at equal spaces. These are ‘reductive traces’ (Ingold 2007) abraded by the miles of threads which travelled over the rods over time. These marks were invisible when the actual ‘threads’ were running over them, and these unsubstantial ‘ghostly lines’ (Ingold 2007) only became visible after the Figuremachine 5. The Thewas Glass Glass dismantled. Circles Circles (2013)(2013) Th bye by marks Sunny Sunny inviteWang. us Detail. to imagine the lost threads. The centre of attention of this object is not the marks left, but the threads that made them. 2.4. Marks of Life in Glass

We strive to leave our mark on the world, but sometimes this is achieved unknowingly. Figure 6 shows a section of a lease-rod reclaimed from a vintage weaving machine. The machine had a set of these rods, which kept warp yarns in position. Glass was used for this purpose because it did not damage the strings like metal and lasted longer than wooden rods. On the surface of the rod, a set of four notches can be observed at equal spaces. These are ‘reductive traces’ (Ingold 2007) abraded by the miles of threads which travelled over the rods over time. These marks were invisible when the actual ‘threads’ were running over them, and these unsubstantial ‘ghostly lines’ (Ingold 2007) only became visible after the machine was dismantled. The marks invite us to imagine the lost threads. The centre of attention of this object is not the marks left, but the threads that made them.

Arts 2019, 8, 12 6 of 9

2.4. Marks of Life in Glass We strive to leave our mark on the world, but sometimes this is achieved unknowingly. Figure6 shows a section of a lease-rod reclaimed from a vintage weaving machine. The machine had a set of these rods, which kept warp yarns in position. Glass was used for this purpose because it did not damage the strings like metal and lasted longer than wooden rods. On the surface of the rod, a set of four notches can be observed at equal spaces. These are ‘reductive traces’ (Ingold 2007) abraded by the miles of threads which travelled over the rods over time. These marks were invisible when the actual ‘threads’ were running over them, and these unsubstantial ‘ghostly lines’ (Ingold 2007) only became visible after the machine was dismantled. The marks invite us to imagine the lost threads. The centre Arts 2018, 7of, x attention FOR PEER of thisREVIEW object is not the marks left, but the threads that made them. 6 of 9

FigureFigure 6. A 6. sectionA section of of a a lease-rod lease-rod (found (found in 2018).in 2018).

The stressThe crack stress crackis an isidiosyncratic an idiosyncratic mark mark in in glass whichwhich is causedis caused by uneven by uneven heating heating and only and only arises later. When glass is heated partially, stress is caused between the hot and cold areas. It breaks arises later.when When the stress glass reaches is heated the limit, partially, sometimes stress days is later, caused triggered between by any the slight hot physicaland cold or areas. thermal It breaks when theshock. stress Glass reaches products the arelimit, normally sometimes annealed days to prevent later, thistriggered from happening. by any slight Figure 7physical shows part or thermal shock. Glassof a glass products ship, left are by normally the late Peter annealed Coyne, ato scientific prevent glassblower this from whohappening. was influential Figure in 7 making shows part of a glass ship,novelty left glass by products the late in northeastPeter Coyne, England. a scientific The end of theglassblower glass rod was who nipped was and influential slightly pulled in making novelty overglass to products create the impressionin northeast of a ship’sEngland. bow andThe keel.end Theof cross-sectionalthe glass rod line was is thenipped stress crackand slightly caused by this heat. Normally, lampworkers give this stress zone a ‘lamp-annealing’ to prevent such pulled overcracks. to Lamp-annealingcreate the impression is one of of the a fundamental ship’s bow techniques and keel. of The lampworking, cross-sectional where theline stress is the stress crack causedzone is by gently this heated heat. with Normally, a lower temperature lampworkers flame (i.e.,give using this lessstress oxygen) zone to releasea ‘lamp-annealing’ the stress. to prevent Sincesuch lampworkingcracks. Lamp-annealing often includes is the one partial of th heatinge fundamental and fusing oftechniques small components, of lampworking, this quick where the stressannealing zone is gently method heated is frequently with employeda lower temper in the courseature offlame fabricating (i.e., using a sculpture. less oxygen) This remnant to release the stress. Sincesuggests lampworking that Coyne was often interrupted includes by the a phone partia calll orheating something and of fusing that kind of andsmall had components, to put the this piece down without first lamp-annealing it. The crack is a poignant record of him having worked on quick annealingthis piece ofmethod glass. is frequently employed in the course of fabricating a sculpture. This remnant suggests that Coyne was interrupted by a phone call or something of that kind and had to put the piece down without first lamp-annealing it. The crack is a poignant record of him having worked on this piece of glass.

Figure 7. A ship nose with stress cracks (found in 2018).

3. Studio Practice: Murmuration Alongside the theoretical study of mark-making with glass, I have investigated the technical possibility of lampworked glass, seeking a new calligraphic expression. As a result, the Murmuration series was developed. This section introduces the studio practice of this research and explains the developmental path from the initial ideas to the final artwork. Lampworkers use glass tubes as well as solid rods. Typical products made from tubing are various sorts of containers and blown sculptures such as Christmas baubles. It is also a common

Arts 2018, 7, x FOR PEER REVIEW 6 of 9

Figure 6. A section of a lease-rod (found in 2018).

The stress crack is an idiosyncratic mark in glass which is caused by uneven heating and only arises later. When glass is heated partially, stress is caused between the hot and cold areas. It breaks when the stress reaches the limit, sometimes days later, triggered by any slight physical or thermal shock. Glass products are normally annealed to prevent this from happening. Figure 7 shows part of a glass ship, left by the late Peter Coyne, a scientific glassblower who was influential in making novelty glass products in northeast England. The end of the glass rod was nipped and slightly pulled over to create the impression of a ship’s bow and keel. The cross-sectional line is the stress crack caused by this heat. Normally, lampworkers give this stress zone a ‘lamp-annealing’ to prevent such cracks. Lamp-annealing is one of the fundamental techniques of lampworking, where the stress zone is gently heated with a lower temperature flame (i.e., using less oxygen) to release the stress. Since lampworking often includes the partial heating and fusing of small components, this quick annealing method is frequently employed in the course of fabricating a sculpture. This remnant suggests that Coyne was interrupted by a phone call or something of that kind and had to Artsput2019 the, 8, 12piece down without first lamp-annealing it. The crack is a poignant record of him having7 of 9 worked on this piece of glass.

Arts 2018, 7, x FOR PEER REVIEW 7 of 9 FigureFigure 7. 7.A A shipship nosenose with stress cracks cracks (found (found in in 2018). 2018). practice for scientific lampworkers to fabricate tubes into double- or triple-walled laboratory 3.apparatus. Studio3. Studio Practice: Practice:As Ingold Murmuration Murmuration (2007) mentions, a tube has a line of air inside and is an exceptional type of line. This dual structure is very visible with clear glass. Building upon this observation, I aimed to AlongsideAlongside the the theoretical theoretical studystudy ofof mark-makingmark-making wi withth glass, glass, I Ihave have investigated investigated the the technical technical develop the use of tubing for calligraphic expression. The practice-led investigation was done possibilitypossibility of lampworkedof lampworked glass, glass, seeking seeking a new a calligraphic new calligraphic expression. expression. As a result, As thea Murmurationresult, the through two major artist-in-residence programmes. Firstly, I took an experimental approach for the seriesMurmuration was developed. series was This developed. section introduces This section the introduces studio practice the studio of this practice research of this and research explains and the Emerging Artist in Residence at Pilchuck Glass School in 2015. I made samples of tubes manipulated developmentalexplains the developmental path from the path initial from ideas the to initial the ﬁnal ideas artwork. to the final artwork. through various techniques and by different tools, aiming to enumerate all possible shapes LampworkersLampworkers use use glass glass tubestubes asas wellwell asas solidsolid rods. Typical Typical products products made made from from tubing tubing are are obtainable from tubing. Figure 8 shows one of the test pieces made during this period. These are 10 variousvarious sorts sorts of of containers containers and and blown blown sculpturessculptures such as Christmas baubles. baubles. It Itis isalso also a common a common mm diameter tubes, cut into small sections and fused back together at various angles. practice for scientiﬁc lampworkers to fabricate tubes into double- or triple-walled laboratory apparatus. Reflecting upon the outcomes of this series of experiments, I concluded that one particular As Ingold(2007) mentions, a tube has a line of air inside and is an exceptional type of line. This dual technique to focus on next was that of pushing glass inside the tube and adding embedded textures structure is very visible with clear glass. Building upon this observation, I aimed to develop the use and colours (Figure 9). These are 24 mm diameter tubes, which have an internal space of 20 mm for of tubing for calligraphic expression. The practice-led investigation was done through two major embedding. Each spike was made by heating a small area of the glass using a sharp flame and artist-in-residence programmes. Firstly, I took an experimental approach for the Emerging Artist in pushing it towards the middle of the tube with a needle-like metal tool. The size and shape of the Residence at Pilchuck Glass School in 2015. I made samples of tubes manipulated through various spike can be changed by using different tools, and various coloured glass elements can be added. I techniqueschose the murmuration and by different of starlings tools, aiming as the toinspiratio enumeraten to create all possible new work shapes using obtainable this new from technique. tubing. FigureThe dynamic8 shows movement one of the that test flocks pieces of madebirds display during in this the period. sky seemed These to arebe an 10 appropriate mm diameter model tubes, to cutlearn into from small and sections a suitable and motif fused for back capturing together the at flow various of energy angles. in glass.

FigureFigure 8. A test of tubing (2015) (2015) by by Ayako Ayako Tani. Tani.

Reﬂecting upon the outcomes of this series of experiments, I concluded that one particular technique to focus on next was that of pushing glass inside the tube and adding embedded textures

Figure 9. Detail of tubes with embedded textures and colours (2017) by Ayako Tani.

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practice for scientific lampworkers to fabricate tubes into double- or triple-walled laboratory apparatus. As Ingold (2007) mentions, a tube has a line of air inside and is an exceptional type of line. This dual structure is very visible with clear glass. Building upon this observation, I aimed to develop the use of tubing for calligraphic expression. The practice-led investigation was done through two major artist-in-residence programmes. Firstly, I took an experimental approach for the Emerging Artist in Residence at Pilchuck Glass School in 2015. I made samples of tubes manipulated through various techniques and by different tools, aiming to enumerate all possible shapes obtainable from tubing. Figure 8 shows one of the test pieces made during this period. These are 10 mm diameter tubes, cut into small sections and fused back together at various angles. Reflecting upon the outcomes of this series of experiments, I concluded that one particular technique to focus on next was that of pushing glass inside the tube and adding embedded textures and colours (Figure 9). These are 24 mm diameter tubes, which have an internal space of 20 mm for embedding. Each spike was made by heating a small area of the glass using a sharp flame and pushing it towards the middle of the tube with a needle-like metal tool. The size and shape of the spike can be changed by using different tools, and various coloured glass elements can be added. I chose the murmuration of starlings as the inspiration to create new work using this new technique. The dynamic movement that flocks of birds display in the sky seemed to be an appropriate model to learn from and a suitable motif for capturing the flow of energy in glass.

Arts 2019, 8, 12 8 of 9 and colours (Figure9). These are 24 mm diameter tubes, which have an internal space of 20 mm for embedding. Each spike was made by heating a small area of the glass using a sharp flame and pushing it towards the middle of the tube with a needle-like metal tool. The size and shape of the spike can be changed by using different tools, and various coloured glass elements can be added. I chose the murmuration of starlings as the inspiration to create new work using this new technique. The dynamic movement that flocks of birds display in the sky seemed to be an appropriate model to learn from and a suitable motif for capturing the flow of energy in glass. Figure 8. A test of tubing (2015) by Ayako Tani.

FigureFigure 9. 9.Detail Detail of of tubestubes withwith embedded textures textures and and colours colours (2017) (2017) by by Ayako Ayako Tani. Tani.

TheArts 2018 design, 7, x FOR and PEER techniques REVIEW were reﬁned during my residency at JAEA Ceramics Art8 Centre of 9 in China inThe 2017. design Staying and techniques in the heartland were refined of calligraphy, during my residency I was naturally at JAEA immersedCeramics Art in Centre the works in of masters,China saw in 2017. demonstrations Staying in the and heartland remembered of calligraphy, some traces I was ofnaturally knowledge immersed I had in learnt the works at school of in Japan.masters, I did saw oversized demonstrations sketches and (Figure remembered 10) to transfersome traces my of whole-body knowledge I movement had learnt at into school the in marks. It wasJapan. an attempt I did oversized to experience sketches the (Figure sense 10) of gettingto transfer into my the whole-body drawing likemovement the Abstract into the Expressionists marks. It had aspiredwas an attempt to. At the to experience end of the the residency sense of period,getting into this the pattern drawing of brushlike the strokes Abstract was Expressionists made into glass usinghad the aspired ‘embedded to. At the glass end technique’ of the residency explained period, above. this pattern The ﬁnal of brush piece strokes (Figure was 11 made) was into collected glass by Lilingusing Ceramics the ‘embedded Valley Museum glass techniqu in Chinae’ explained after the above. exhibition. The final Works piece (Figure from this 11) Murmurationwas collected by series Liling Ceramics Valley Museum in China after the exhibition. Works from this Murmuration series have been selected for several exhibitions, including the British Glass Biennale 2017. have been selected for several exhibitions, including the British Glass Biennale 2017.

FigureFigure 10. 10.Calligraphic Calligraphic sketch (2017) (2017) by by Ayako Ayako Tani. Tani.

This work translates my mark-making movements on the two-dimensional paper surface into embedded notations in a three-dimensional sculpture. However, this approach differs from that of Ghost, for example, in that massed tubes create the feeling of a canvas or scroll, rather than existing as a free-hanging spatial trace. Although the production of each tube has demanded a considerable level of focus, the whole sculpture attempts to evoke the subconscious, yet virtuoso, movements of a flock of birds in flight or, indeed, a master calligrapher.

Figure 11. Murmuration no. 3 (2017) by Ayako Tani.

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The design and techniques were refined during my residency at JAEA Ceramics Art Centre in China in 2017. Staying in the heartland of calligraphy, I was naturally immersed in the works of masters, saw demonstrations and remembered some traces of knowledge I had learnt at school in Japan. I did oversized sketches (Figure 10) to transfer my whole-body movement into the marks. It was an attempt to experience the sense of getting into the drawing like the Abstract Expressionists had aspired to. At the end of the residency period, this pattern of brush strokes was made into glass using the ‘embedded glass technique’ explained above. The final piece (Figure 11) was collected by Liling Ceramics Valley Museum in China after the exhibition. Works from this Murmuration series have been selected for several exhibitions, including the British Glass Biennale 2017.

Figure 10. Calligraphic sketch (2017) by Ayako Tani.

This work translates my mark-making movements on the two-dimensional paper surface into embedded notations in a three-dimensional sculpture. However, this approach differs from that of Ghost, for example, in that massed tubes create the feeling of a canvas or scroll, rather than existing as a free-hanging spatial trace. Although the production of each tube has demanded a considerable Artslevel2019 of, 8 ,focus, 12 the whole sculpture attempts to evoke the subconscious, yet virtuoso, movements of9 a of 9 flock of birds in flight or, indeed, a master calligrapher.

FigureFigure 11.11. MurmurationMurmuration no. 3 3 (2017)(2017) by by Ayako Ayako Tani. Tani.

This work translates my mark-making movements on the two-dimensional paper surface into embedded notations in a three-dimensional sculpture. However, this approach differs from that of Ghost, for example, in that massed tubes create the feeling of a canvas or scroll, rather than existing as a free-hanging spatial trace. Although the production of each tube has demanded a considerable level of focus, the whole sculpture attempts to evoke the subconscious, yet virtuoso, movements of a ﬂock of birds in ﬂight or, indeed, a master calligrapher.

Funding: This research received no external funding. Conﬂicts of Interest: The author declares no conﬂict of interest.

References

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