Developing Inlaid Colouring Technique for Hot-Glass Making Process

arts

Article Developing Inlaid Colouring Technique for Hot-Glass Making Process

Kee Ryong Choi

Coburg House Art Studio, 15 Coburg St, Edinburgh EH6 6ET, UK; [email protected]

Received: 10 October 2018; Accepted: 21 November 2018; Published: 26 November 2018

Abstract: This article discusses both the complexity and technical benefits of developing an inlaid colouring technique for the hot glass-making process. This technique was inspired by the ancient Korean ceramic decorative technique known as Sanggam, and has allowed me to delineate geometric patterns and counterfeit letters onto glass artworks, before encapsulating them between layers of transparent glass. By developing a typography design that deliberately chooses the wrong consonant and vowel letters, and combines Korean characters, the resulting designs do not fit into either South Korean or British visual culture. A number of optical properties (in particular refraction, reflection, and distortion) provoke a sense of ambiguity in the viewer’s visual experience of, as well as their response to, a series of glass artworks created for experimental purposes. The technique offers an innovative creative tool for artists working in the field of glass art, enabling them to depict expressive drawings and images through a line drawing style, using diverse colours, and in a more controlled manner than the hot glass-making process of the ‘Graal’ technique. The technical possibilities and limitations of the inlaid glass colouring technique are addressed at each step of the development process, while examples of the technical palette serve as a useful reference for artists working in the field of glass art.

Keywords: art glass; glass design; hot glass-making technique; inlaid colour; glass surface decoration

1. Introduction I first identified the potential for developing a colour decorative technique for glassblowing in response to research concerning the encapsulation of voids within the body of glass artefacts undertaken by Flavell(2001), a British glass artist, researcher, and former lecturer at the Edinburgh College of Art. His innovative technical contribution to the field of glassblowing makes it possible for controlled drawings to be transferred directly onto a parison (i.e., a blown glass bubble) through the application of stencil cutting and sandblasting (cf. Figure1). I further recognised the potential to apply the Sanggam1 ceramic decorative technique onto glass artefacts during an in-depth study of Flavell(2001) techniques. This included using incised motifs to create a void, which can then be filled with coloured glass powder, allowing the creation of a delicate line-drawing design with dynamic colour variations. The Korean dynasty of Goryeo potters (918–1392) first used inlaid decorations, known in Korean as Sanggam, during the second half of the 12th century. The technique was unique to the contemporary ceramic decorative techniques in neighbouring countries. Goryeo potters developed the Sanggam technique to decorate the Goryeo celadon that was first introduced by Chinese traders in the Song dynasty (960–1279) period in China. Sanggam decorative

1 The ‘Graal’ glass technique was developed by the designer Simon Gate, in collaboration with a team including Gustaf Abels (engraver) and Knut Bergqvist, at Orrefors Glasbruk (also known as Orrefors glasshouse), Sweden, in 1916 (Flavell 2001).

Arts 2018, 7, 89; doi:10.3390/arts7040089 www.mdpi.com/journal/arts Arts 2018, 7, 89 2 of 17

Arts 2018, 7, x FOR PEER REVIEW 2 of 17 designs included natural motifs (such as cranes, flowers, and grapevines), which were first incised wereinto the first leather-hard incised into (or the semi-dried) leather-hard body (or ofsemi-dri bowls,ed) vessels, body cups,of bowls, and vessel bottles.s, Next,cups, theand incised bottles. design Next, thewas incised filled with design white was or filled red slip with (i.e., white clay or mixed red slip with (i.e., water), clay and mixed the excesswith water), was wiped and the off priorexcess to was the wipedapplication off prior of clear to the glaze application and the firingof clear process. glaze and the firing process.

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Figure 1. TheThe stencil stencil cutting cutting and and sandblas sandblastingting process. process. Photographic Photographic so sourceurce from from Flavell’s Flavell( (2001)2001) PhDPhD thesis.thesis. Used Used by by permission. permission.

To achieve controlled colour decoration on blown glass artefacts, the inlaid colouring technique 2 3 isis similar to (1) the ‘Graal’2 glass technique (named ‘Intarsia’3 by British-born American glass artist Frederick Carder (1863–1963)), and (2) the ‘ Mykene’ technique (cf. Figure Figure 22),), developeddeveloped inin 19361936 byby Swedish glass designer Vicke Lindstrand (1904–1983 (1904–1983),), while working in the Orrefors Glasbruk, in Sweden. ItIt suggestssuggests that that an an earlier earlier attempt attempt had had been been made made to achieve to achieve more more controlled controlled drawings drawings within withina layer a of layer glass of (cf. glass Figure (cf. Figure2c). Flavell 2c). Flavell(2001) speculated(2001) speculated that powdered that powdered carborundum carborundum mixed mixed with withepoxy epoxy resin resin had beenhad been applied applied directly directly to the to drawingthe drawing on theon the surface surface of theof the glass glass body, body, followed followed by bya second a second layer layer of of glass glass wall wall to to encapsulate encapsulate it. it. However, However, the the clear clear spotsspots revealedrevealed inin the transparent glass body in the form of irregular bubbles, and the fine fine definition definition of the drawing, suggested a thin 4 layerlayer ofof powderedpowdered carborundum carborundum was was applied applied onto on theto shallow the shallow etched etched void on void the parison on the. Therefore,parison 4 . Therefore,the outline the of outline the drawing of the remains drawing intact, remains despite intact, the despite chemical the reaction chemical of reaction the bonding of the agent bonding (i.e., agentthe epoxy (i.e., the resin). epoxy resin). I first first undertook undertook a a study study of of Flavell’sFlavell(2001 (2001)) research research into into the the development development of of thethe encapsulationencapsulation of voids, and then examined the Graal and Mykene glass technique, along with the Sanggam ceramic technique. This This resulted resulted in in a a desire desire to to combine combine these these well-established techniques techniques to to develop an innovativeinnovative colour decorative te techniquechnique for glassblowing. I Ihad had previously previously recognised recognised the the early technical achievements and limits of applying applying the the SanggamSanggam techniquetechnique directly directly du duringring the the glassmaking glassmaking process. This led to the development of the innovativeinnovative solution discussed in this article.

2 Carder developed the technique with the assistance of Swedish glass blower Johnny Jenson at the Corning Glassworks in 1916. The intarsia glass was produced until 1923 (Flavell 2001). 3 Parison is a gather on the end of a blowpipe, which is partly inflated. However, in this current research, I use this term to indicate a blank (or pre-blown glass bubble). The word parison is derived from French ‘Paraison’. 4 2 This term in the research refers to Homi K. Bhabha’s (Bhabha 1994) description of the nature of culture in a post-colonial Cardersociety. Hedeveloped argues: “Culture the technique is heimlich, with with the its assistance disciplinary of generalisations, Swedish glass its blower mimetic Johnny narratives, Jenson its homologous at the Corning empty Glassworkstime, its seriality, in 1916. its progress, The intarsia its customs glass andwas coherence. produced But until cultural 1923 authority(Flavell 2001). is also unheimlich, for to be distinctive, 3 Parisonsignificatory, is a gather influential on andthe identifiable,end of a blowpipe, it has to be which translated, is partly disseminated, inflated. differentiated,However, in interdisciplinary,this current research, inter-textual, I use thisinternational, term to indicate inter-racial. a blank Inbetween (or pre-blown these two glass plays bubble) the time. The of a colonialword parison paradox is in derive thosed contradictory from French statements ‘Paraison’. of subordinate power” (Bhabha 1994). 4 This term in the research refers to Homi K. Bhabha’s (Bhabha 1994) description of the nature of culture in a post-colonial society. He argues: “Culture is heimlich, with its disciplinary generalisations, its mimetic narratives, its homologous empty time, its seriality, its progress, its customs and coherence. But cultural authority is also unheimlich, for to be distinctive, significatory, influential and identifiable, it has to be translated, disseminated, differentiated, interdisciplinary, inter-textual, international, inter-racial. Inbetween these two plays the time of a colonial paradox in those contradictory statements of subordinate power” (Bhabha 1994).

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Figure 2. (a))‘ ‘Intarsia’ vase (1920–1929), made by Steuben DivisionDivision and Johnny Jansson in the Corning Glassworks, USA. Height 174 mm.mm. The CorningCorning Museum of Glass collection.collection. ( b))‘ ‘Graal’ ﬁshfish vasevase (unknown),(unknown), mademade byby Hald, Edvard Niels Tove (1883–1980)(1883–1980) inin OrreforsOrrefors Glasbruk,Glasbruk, Sweden.Sweden. Height 132 mm. The Corning Museum of Glass collection. ( c))‘ ‘Horse’-’-Mykene glass vase (1936), made by Vicke Lindstrand in Orrefors Glasbruk, Sweden. PhotographicPhotographic source: from Ray Flavell’s PhD thesis (2001) ((FlavellFlavell 20012001).). Used by permission.permission.

By fabricating artworks using both glass and porcelain,porcelain, my contribution offers an artistic perspective for aa cross-culturalcross-cultural discoursediscourse analysis.analysis. My My artistic approach is underpinned by an 5 exploration of the state of cultural uncanniness5 in in visualvisual experience.experience. The inlaid colouring technique allows me toto encapsulateencapsulate pseudopseudo KoreanKorean lettersletters andand patternspatterns ontoonto mymy glassglass artworks.artworks. They then function as ‘foreign’ texttext for BritishBritish audiences, who are unable to read the script on the surface of my artwork. At the same time, South Koreans find find the im imagesages on the the glass glass parts parts un unfamiliarfamiliar too. too. However, However, to help both audiences overcome thethe feelings ofof discomfort thatthat are provoked inin them by being unable to groundground thethe artworkartwork in in a a context context that that they they recognise, recognise, I provide I provide some some familiar familiar visual visual references references in the in vasethe vase shape. shape. Nonetheless, Nonetheless, both both UK andUK and Korean Korean groups groups still perceivedstill perceived the artwork the artwork as being as being outside outside their culturaltheir cultural boundary. boundary. My aim My is toaim use is this to asuse a toolthisto as provoke a tool to aesthetic provoke emotions, aesthetic thereby emotions, developing thereby a formaldeveloping visual a vocabularyformal visual by vocabu creatinglary a body by creating of artwork a body in glass of artw andork porcelain. in glass The and development porcelain. The of thedevelopment inlaid colouring of the technique inlaid colouring offers an innovativetechnique creativeoffers an tool innovative for inserting creative expressive tool drawingsfor inserting and imagesexpressive onto drawings glass during and images the hot onto glass-making glass during process. the hot My glass-making aim is for this process. theoretical My aim and is practical for this knowledgetheoretical and to benefit practical cross-cultural knowledge studiesto benefit in thecross-cu fieldltural of contemporary studies in the glass field art. of contemporary It is hoped that glass this paperart. It is will hoped inspire that others this paper to look will further inspire into others my doctoralto look further findings into and my apply doctoral my findings techniques and to apply their ownmy techniques practice. to their own practice. 2. Developing Inlaid Colouring Technique The success of the inlaid colouring technique requires an interruption in the standard hot glass making process. It is necessary to make a suitably-shaped parison and anneal it before progressing to the next steps (i.e., sand-blasting and colour introduction), before reheating it for pick up before later manipulation at the furnace over an extended time scale.

5 This term refers to a second furnace used to reheat a glass piece between the steps of glassblowing.

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2. Developing Inlaid Colouring Technique The success of the inlaid colouring technique requires an interruption in the standard hot glass making process. It is necessary to make a suitably-shaped parison and anneal it before progressing to the next steps (i.e., sand-blasting and colour introduction), before reheating it for pick up before later manipulation at the furnace over an extended time scale.

2.1. Step One In this step, the parison is prepared for stencil cutting and sandblasting. Depending on the desired depth of the sandblasted void, two or three layers of masking tape are applied evenly to the surfaceArts 2018 ,as7, 89the resist. Flavell (2001) noted that it is vital to apply masking tape flatly and evenly,4 of 17 avoiding folds and air traps, and to achieve clean cuts with a scalpel blade (Flavell 2001, p. 51). Various types of resist can be used to sandblast a glass surface, i.e., self-adhesive film, rubber, or vinyl resist,the resist. as well Flavell as PVA(2001 glue) noted (polyv thatinyl it is acetate). vital to applyHowever, masking masking tape ta flatlype provides and evenly, the avoidingbest durability folds forand deep air traps, sandblasting and to achieve and flexibility clean cuts for with use on a scalpel the round blade surface (Flavell of 2001 the parison., p. 51). VariousRubber typesor vinyl of resisttype resistcan be is used unsuitable to sandblast for deep a glass sandblasting, surface, i.e., due self-adhesive to frictional film,heat rubber,generated or vinylby the resist, silicon as carbide well as PVAgrit andglue the (polyvinyl high pressure acetate). of However,sandblast, masking which softens tape provides the resist. the Multiple best durability layers forof deepmasking sandblasting tape are appliedand flexibility to prevent for use abrasions on the roundwith potential surface of to the damage parison. the Rubber design or(cf. vinyl Figure type 3). resist is unsuitable for deepIt sandblasting, is important dueto clean to frictional the surface heat of generated the pariso byn the with silicon methyl carbide alcohol grit or and glass the highcleaner pressure prior to of thesandblast, application which of softensthe masking the resist. tape Multiple(cf. Figure layers 3a). Masking of masking tape tape (approximately are applied to 25 prevent mm in abrasionswidth) is cutwith to potential between to50 damagemm and the 80 designmm, depending (cf. Figure on3). the curved surface.

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FigureFigure 3. 3. ApplyingApplying masking masking tape tape to to the the surface surface of of the the parison. parison.

2.2. StepIt is Two important to clean the surface of the parison with methyl alcohol or glass cleaner prior to the application of the masking tape (cf. Figure3a). Masking tape (approximately 25 mm in width) is cut to The design (including patterns and images) is drawn directly onto the surface covered by between 50 mm and 80 mm, depending on the curved surface. masking tape (cf. Figure 4a). The first guideline is made with a pencil and the second with a fibre- tipped2.2. Step pen, Two following a clear-cut line (cf. Figure 4a,b). Crucially, the design must not be applied close to the neck of the parison (cf. Figure 4c, Diagram 1), as it is picked up from the kiln (or pick-up kiln) The design (including patterns and images) is drawn directly onto the surface covered by masking by the neck on a blowing pipe, with a prepared collar (or a prepared gather) (cf. Figure 4d, Diagram tape (cf. Figure4a). The first guideline is made with a pencil and the second with a fibre-tipped pen, 2). Once picked up, the parison needs to be immediately reheated in the glory hole6, to avoid risking following a clear-cut line (cf. Figure4a,b). Crucially, the design must not be applied close to the neck of thermal shock7. This is due to the temperature of the kiln being 550 °C, i.e., just above the annealing the parison (cf. Figure4c, Diagram 1), as it is picked up from the kiln (or pick-up kiln) by the neck on a temperature. During the reheating process, coloured glass powder placed within the void (or blowing pipe, with a prepared collar (or a prepared gather) (cf. Figure4d, Diagram 2). Once picked sandblasted part) melts in the glory hole. However, as a result of the protruding body of the parison, up, the parison needs to be immediately reheated in the glory hole6, to avoid risking thermal shock7. insufficient heat reaches the neck of the parison to melt the glass powder, and the joined part is This is due to the temperature of the kiln being 550 ◦C, i.e., just above the annealing temperature. During the reheating process, coloured glass powder placed within the void (or sandblasted part) melts in the glory hole. However, as a result of the protruding body of the parison, insufficient heat reaches the neck of the parison to melt the glass powder, and the joined part is inclined to create an air 6 pocket Thermal as a shock result refers of the to docking the risk of process. glass breaking The neck as willthe result later of need a rapi tod be or cut uneven off with change a diamond in temperature. saw to This ensures that an annealing process is essential for glass making. remove the resulting air pocket. 7 At this temperature, glass deforms under its own weight. The softening point for Cristalica glass is 563 °C (log 10 viscosity, poise 11.5).

6 Thermal shock refers to the risk of glass breaking as the result of a rapid or uneven change in temperature. This ensures that an annealing process is essential for glass making. 7 At this temperature, glass deforms under its own weight. The softening point for Cristalica glass is 563 ◦C (log 10 viscosity, poise 11.5). Arts 2018,, 7,, xx FORFOR PEERPEER REVIEWREVIEW 5 of 17

Artsinclinedinclined2018, 7 toto, 89 createcreate anan airair pocketpocket asas aa resultresult ofof ththe docking process. The neck will later need to be5 of cut 17 off with a diamond saw to remove the resulting air pocket.

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Figure 4. ((a,,b)) Applying Applying the the design design with with a a pencil and fibre-tipped ﬁbre-tipped pen.pen. (c)) DiagramDiagram 1:1: technical technical terms terms forfor thethe parisonparison parts; parts; ( (d)) DiagramDiagram 2, 2, technicaltechnical terms terms for for the the pari parisonparison parts and a prepared gather on aa blowing pipe.

2.3. Step Three 2.3. Step Three The drawings on the masking tape are cut out with a sharp scalpel blade to ensure control The drawings on the masking tape are cut out with a sharp scalpel blade to ensure control (Flavell 2001) and minimise scratches on the glass (cf. Figure5). (Flavell 2001) and minimise scratches on the glass (cf. Figure 5).

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Figure 5. CuttingCutting out out a a design design with a scalpel blade. 2.4. Step Four 2.4. Step Four Once the cutting is complete, the design is sandblasted (cf. Figure6a,b). The working air pressure Once the cutting is complete, the design is sandblasted (cf. Figure 6a,b). The working air pressure for the sandblaster is set at between 50 PSI and 90 PSI (or 3.5 to 6 Bar) (cf. Figure6c,d). Ninety PSI is for the sandblaster is set at between 50 PSI and 90 PSI (or 3.5 to 6 Bar) (cf. Figure 6c,d). Ninety PSI is ideal for a rough cut, as the high air pressure cuts the glass faster. When the sandblasting is close to the idealideal forfor aa roughrough cut,cut, asas thethe highhigh airair pressurepressure cutscuts the glass faster. When the sandblasting is close to desired depth, a 50 PSI pressure is used to achieve a right-angled cut and an even surface. The silicon the desired depth, a 50 PSI pressure is used to achieve a right-angled cut and an even surface. The carbide grit for a sandblaster comes in various sizes, from F80 (coarse) to F400 (ﬁne). The process silicon carbide grit for a sandblaster comes in various sizes, from F80 (coarse) to F400 (fine). The under discussion uses a medium coarse grit size of F220 grade silicon carbide grit. To avoid damaging the design, the sandblaster nozzle must be maintained at a distance of between 15 cm and 20 cm Arts 2018, 7, x FOR PEER REVIEW 6 of 17 Arts 2018, 7, 89 6 of 17 process under discussion uses a medium coarse grit size of F220 grade silicon carbide grit. To avoid damaging the design, the sandblaster nozzle must be maintained at a distance of between 15 cm and 20from cm thefrom parison, the parison, (cf. Figure (cf. Figure6e–h). 6e–h). The depth The depth for sandblasting for sandblasting is approximately is approximately 2.5 mm, 2.5 mm, since since this thiscreates creates a sufﬁcient a sufficient void forvoid the for insertion the insertion of coloured of coloured glass powder glass powder (cf. Figure (cf.6 f).Figure The line6f). drawingThe line drawingtends to betends disconnected to be disconnected if the depth if the is depth less than is less 2.5 mm,than 2.5 because mm, because the glass the powder glass powder shrinks whenshrinks it whenmelts atit melts high temperatures.at high temperatures. However, However, if the depth if the is depth too great, is too the great, glass the powder glass generatespowder generates bubbles bubbleswhen another when another layer of layer molten of molten glass isglass added is adde to coverd to cover the the design. design. The The thick thick layer layer ofof powdered glass requires an extended reheating time in the gl gloryory hole, carrying the risk of the design becoming distorted. This This occurs occurs because because the the thick thick glass glass body body of of the the parison parison heats heats up up slowly, slowly, with with the heat retained for a longer period of time, while the glass powder heats and cools down in a more rapid manner. Therefore, in order to avoid burning off th thee surface of the powdered glass, and ensuring it melts evenly, the reheating reheating must must be be divided divided into into several steps.

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Figure 6. TheThe sandblasting processes.

2.5. Step Step Five Five In this this step, step, the the masking masking tape tape is is removed removed from from the parison parison and and the the incised incised design design is is cleaned cleaned with with water (cf. Figure 77a–c).a–c). DifferentDifferent shapedshaped dentaldental ﬁllingfilling toolstools areare usedused forfor packingpacking thethe colouredcoloured glassglass powder into the incised design (cf. Figure 77d–g).d–g). Previously,Previously, thethe colourscolours werewere appliedapplied directlydirectly intointo the incised design before before removing the the masking ta tape,pe, with the silicon carbide grit removed with a paintbrush or compressed air. However, it then provedproved impossible to prevent contamination of the glass powder with the residue of the masking tape (cf. Figure Figure 77h,i).h,i). This process uses Kugler colouredcoloured glass powder, which is compatible with the Cristalica glass,glass, whichwhich thethe parisonparison isis mademade of.of. It isis importantimportant to to use use an an organic organic bonding bonding agent agen for powderedt for powdered glass toglass minimise to minimise the risk ofthe chemical risk of chemicalreactions duringreactions the during reheating the process. reheating Acasia process. gum/Gum Acasia Arabic gum/Gum is therefore Arabic used is therefore as a bonding used agent, as a bondingwith 5 gs agent, of Acasia with gum/Gum 5 gs of Acasia Arabic gum/Gum being mixed Arabic with being 30 gsmixed of water with at 30 the gs rateof water of 1:6, at to the achieve rate of a 1:6,colloidal to achieve consistency a colloidal (cf. Figureconsistency8). (cf. Figure 8).

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Figure 7. Applying the coloured glass powder.

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Figure 8. Measuring the Acasia gum/Gum Arabic Arabic and and water. water.

2.6. Step Six 2.6. Step Six The prepared parison is pre-fired in the pick-up kiln at 550 ◦C, prior to being picked up on a The prepared parison is pre-fired in the pick-up kiln at 550 °C, prior to being picked up on a blowing pipe for the second gather, which encapsulates the design within a layer of glass. The parison blowing pipe for the second gather, which encapsulates the design within a layer of glass. The parison is positioned vertically on a layer of ceramic fibre, with a terracotta flowerpot positioned underneath. is positioned vertically on a layer of ceramic fibre, with a terracotta flowerpot positioned underneath. It is vital to ensureensure thatthat thethe temperaturetemperature of thethe kiln temperature is raised slowly and to undertake soaking at a high high temperature temperature for for several several hours hours to to re reduceduce the the risk risk of of thermal thermal shock shock (cf. (cf. Figure Figure 9).9). I soaking at a high temperature for◦ several hours◦ to reduce the risk of thermal shock (cf. Figure 9). I Itherefore therefore use use a firing a firing cycle cycle of of 25 25 °C/hC/h to to550 550 °C/5C/5 h soaking h soaking time. time.

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Figure 9. ((aa,,bb)) Preparing Preparing the the pick-up pick-up kiln for pre-firing. pre-ﬁring. ( c) The temperature of the pick-up kiln.

2.7. Step Seven 2.7. Step Seven Once the temperature reaches 550 ◦C, the parison is soaked for a minimum of three hours, while Once the temperature reaches 550 °C, the parison is soaked for a minimum of three hours, while the collar is prepared to pick up the parison from the kiln. A stainless steel paddle is used to shape the the collar is prepared to pick up the parison from the kiln. A stainless steel paddle is used to shape collar, and if necessary, a hole is made in the blowing pipe with a pair of tweezers to enable further the collar, and if necessary, a hole is made in the blowing pipe with a pair of tweezers to enable blowing. The diameter of the collar is determined by the size of the neck of the parison. The neat and further blowing. The diameter of the collar is determined by the size of the neck of the parison. The ﬂat collar shape ensures correct contact with the parison, to improve control for further manipulation neat and flat collar shape ensures correct contact with the parison, to improve control for further (cf. Figure 10). manipulation (cf. Figure 10).

Figure 10. PreparingPreparing the collar.

2.8. Step Eight The parison is picked up on a blowing pipe an andd immediately reheated reheated in in the the glory glory hole hole (cf. (cf. Figure 11a,b).11a,b). To To prevent prevent distortion distortion of of the the design, design, I I bring bring the the parison to the working bench (or glassblowing bench) before it becomesbecomes soft. The blowtorch can help melt the powdered glass without softening the parison’sparison’s body.body. Prior Prior to to applying applying another another layer layer of of glass, glass, the the melted melted glass glass powder powder needs needs to tobe be compressed compressed using using a stainless a stainless steel steel paddle, paddle, to obtain to obtain an even an surfaceeven surface and reduce and thereduce risk the of creating risk of creatingair traps air (cf. traps Figure (cf. 11 Figurec). It is 11c). crucial It is to crucial ensure to the ensure powdered the powdered glass is completely glass is completely melted,so melted, it can beso itfused can ontobe fused the parisononto the body, parison avoiding body, the avoiding generation the generation of bubbles whenof bubbles it is later when covered it is later with covered molten withglass molten (cf. Figure glass 11 (cf.d,e). Figure 11d,e).

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FigureFigure 11.11. ((aa––cc)) PickingPicking upup thethe parisonparison fromfrom thethe pick-uppick-up kiln.kiln. ((dd,,ee)) BubblesBubbles onon thethe colour.colour.

2.9.2.9. Step Nine OnceOnce thethe glassglass powderpowder isis fusedfused ontoonto thethe parison,parison, thethe completecomplete glassglass bodybody isis cooledcooled downdown toto aa 8 ◦ temperaturetemperature below the the point point at at which which it it might might become become deformed, deformed,8 i.e.,i.e., approximately approximately 563 563 °C (logC (log 10 10viscosity, viscosity, poise poise 11.5). 11.5). This This reduces reduces the the risk risk of dist of distortionortion during during the thesecond second gathering gathering of the of theglass. glass. To Toobtain obtain an aneven even layer layer of ofglass glass (and (and avoid avoid trapping trapping bubbles bubbles in in response response to the higherhigher temperaturetemperature increasingincreasing thethe viscosityviscosity ofof thethe moltenmolten glass),glass), thethe temperaturetemperature ofof thethe furnacefurnace forfor thethe secondsecond gathergather isis ◦ ◦ ◦ ◦ setset atat betweenbetween 11401140 °CC andand 11501150 °CC (i.e.,(i.e., betweenbetween 55 °CC andand 1010 °CC higherhigher thanthan thethe regularregular furnacefurnace temperaturetemperature forfor Cristalica Cristalica glass glass in thein the glassblowing glassblowing studio studio at the at university the university of Edinburgh). of Edinburgh). The second The gatheredsecond gathered glass is shapedglass is intoshaped the into desired the desired form using form glassblowing using glassblowing tools, including tools, including wooden wooden blocks, ablocks, wet newspaper a wet newspaper pad, and pad, a jack and (cf. a Figure jack (cf. 12g,h). Figure I initially 12g,h). applied I initially a layer applied of clear a layer glass of overlay clear glass over theoverlay parison, over in the the parison, same way in the that same Flavell way(2001 that) encapsulates Flavell (2001) the encapsulates sandblasted th voide sandblasted (cf. Figure void12a–d). (cf. AlthoughFigure 12a–d). the test Although was successful the test on was a small successful scale, on it identified a small scale, a critical it identified issue, i.e., a critical that, when issue, the i.e., surface that, iswhen uneven, the surface flat bands is uneven, of air are flat more bands likely of air to becomeare more trapped likely to between become the trapped parison between and the the clear parison glass layerand the (cf. clear Figure glass 12f). layer However, (cf. Figure the development 12f). Howeve ofr, an the uneven development surface is of an an inevitable uneven consequencesurface is an ofinevitable glass powder consequence shrinking of asglass it melts powder during shrinking reheating. as Ait solutionmelts during to the reheating. problemof A air solution bubbles to is the to gatherproblem molten of air glassbubbles from is to the gather furnace molten directly glass onto from the the parison, furnace as directly the hot onto glass the then parison, fills the as uneven the hot surfaceglass then (cf. fills Figure the 12unevenf). surface (cf. Figure 12f).

8 At this temperature, glass deforms under its own weight. The softening point for Cristalica glass is 563 ◦C (log 10 viscosity, poise 11.5).

8 At this temperature, glass deforms under its own weight. The softening point for Cristalica glass is 563 °C (log 10 viscosity, poise 11.5).

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FigureFigure 12. 12.( a(a)) Encapsulating Encapsulating a a void void with with a a transparent transparent parison parison pushed pushed over. over. Photographic Photographic source source from from RayRay Flavell’s Flavell’s PhD PhD thesis thesis (2001) (2001) ( Flavell(Flavell 2001 2001,, p. p. 60). 60). Used Used by by permission. permission. ( b(b––ee)) Applying Applying a a layer layer of of glassglass with with a a transparent transparent glass glass overlay. overlay. ( f(–fh–h)) Gathering Gathering the the second second layer layer of of glass glass from from the the furnace furnace and and shapeshape the the glass glass with with glassblowing glassblowing tools. tools.

TheThe ﬁnished finished piece piece is is knocked knocked off off the the blowing blowing pipe pipe and and annealed annealed in in the the kiln kiln using using a a slow slow cooling cooling ◦ ◦ ◦ cycle.cycle. TheThe annealingannealing cycle involves cooling cooling down down from from 520 520 °CC to to 310 310 °C Cby by 15 15 °C/hC/h soaking soaking for forfive ◦ ◦ ◦ ◦ ﬁvehours, hours, from from 310 310 °C toC to210 210 °C Cby by 20 20 °C/hC/h soaking soaking for for three three hours, hours, and and from from 210 °CC toto thethe roomroom ◦ temperaturetemperature by by 30 30 C/h.°C/h.

3.3. Technical Technical Palette Palette MyMy intention intention in in developing developing the the technical technical palette palette is is to to create create an an improved improved understanding understanding of of the the technicaltechnical possibilities possibilities and and limitations limitations of of the the inlaid inlaid colouring colouring technique. technique. The The beneficial beneficial aspect aspect of of this this techniquetechnique is is the the achievement achievement of of a a drawn drawn motif motif with with colour colour variations variations over over a a desired desired area, area, determined determined atat an an early early stage stage of of the the design design by by the the glass glass practitioner. practitioner. Thus, Thus, line line drawings, drawings, patterns, patterns, and texturesand textures can becan introduced be introduced onto theonto surface the surface of blown of blown glass glass forms, forms, allowing allowing flexibility flexibility and personal and personal style. style. 3.1. Life Drawing Images 3.1. Life Drawing Images Life drawing images are drawn in brush and pencil onto the masking taped parison, to create Life drawing images are drawn in brush and pencil onto the masking taped parison, to create the dynamics of a human figure with an expressive line drawing. The sketch is made directly from the dynamics of a human figure with an expressive line drawing. The sketch is made directly from observations of life drawing models; the image is then sandblasted. The line drawing can only produce observations of life drawing models; the image is then sandblasted. The line drawing can only produce flat images (i.e., a two-dimensional image), and the technique cannot illustrate the shadows

Arts 2018, 7, 89 11 of 17

Arts 2018, 7, x FOR PEER REVIEW 11 of 17 flat images (i.e., a two-dimensional image), and the technique cannot illustrate the shadows and shadingsand shadings of the of body.the body. The The thickness thickness of of the the transparent transparent glass glass wall wall partially partially becomes becomes aa convexconvex and concave lens, creating creating the the optical optical illusion illusion that that a are reflectionflection of ofthe the suspended suspended image image is captured is captured on the on thewall wall of the of theinner inner bubble. bubble. Hence, Hence, two two or three or three layers layers of reflections of reflections appear appear as asthe the image image is viewed is viewed at atdifferent different angles. angles. In addition, In addition, the strong the strong angled angled cut and cut polished and polished rim magnifies rim magnifies the images the images(cf. Figure (cf. Figure13). 13).

a b

Figure 13.13. (a))‘ ‘Life drawing glass’ 11 andand 22 (2011).(2011). Cristalica glass body with KuglerKugler powderpowder glassglass (opaque(opaque yellowyellow (K2078-Canary (K2078-Canary yellow), yellow), opaque opaque red re (K2124-Poppyd (K2124-Poppy red) red) and and opaque opaque black black (K2095-Opal (K2095- black),Opal black), 120 mm 120 (H)mm× (H)140 × 140 mm mm (W) (W) and and 120 120 mm mm (H) (H)× ×155 155 mm mm (W)). (W)). ( b(b)‘) Life‘Life drawingdrawing glassglass’’ 33 (2011) Cristalica glass body with KuglerKugler powder glass (opaque yellow (K2078-Canary yellow), opaque red (K2124-Poppy(K2124-Poppy red)red) andand opaqueopaque blackblack (K2095-Opal(K2095-Opal black),black), 160160 mmmm (H)(H) ×× 120 mm (W)).

I have have been been inspired inspired by by the the success success of the of thedynamic dynamic lines linesof ‘Life of drawing ‘Life drawing glass’ (2011), glass’ (2011),which whichencouraged encouraged me to create me to an create Asian-style an Asian-style ink painting ink paintingusing the using technique, the technique, by increasing by increasing the thickness the thicknessof the line of and the density line and of densitythe colour. of the A colour.tree motif A treewas motifsandblasted was sandblasted to a depth toof a between depth of 3mm between and 3mm3.5 mm and to 3.5create mm additional to create additional space for coloured space for powder coloured glass. powder The glass.parison The was parison exposed was to exposed heat for to a heatlonger for period a longer of periodtime during of time the during reheating the reheatingprocess to process avoid the to avoidcreation the of creation bubbles of on bubbles the line, on and the line,to allow and tothe allow colour the to colour move to naturally. move naturally. Once the Once parison the parison had cooled had cooled for the for second the second gather, gather, it was it wasreheated reheated with witha blowtorch a blowtorch to ensure to ensure the exterior the exterior of the ofparison the parison remained remained hot while hot the while interior the interiorcooled. cooled.The test Therevealed test revealed that ‘soft’ that colours ‘soft’ colours(i.e., opaque (i.e., opaqueblack and black green) and absorbed green) absorbed more heat more and heat spread. and spread.These ‘soft’ These colours ‘soft’ colours drew drewspontaneous spontaneous lines linesfollo followingwing the thecentrifugal centrifugal force force as as the the parison parison was continuously turnedturned in in the the shaping shaping process process following following the second the second gather (cf.gather Figure (cf. 14 ).Figure The distinctive 14). The qualitydistinctive of thequality lines of established the lines aestablished potential fora potential developing for Asian-styledeveloping inkAsian-style painting ink on blownpainting glass on artefactsblown glass as an artefacts expressive as an tool. expressive tool.

Figure 14. Drawing test (2011). Cristalica glass body with Kugler glass powder (opaque green (K2070- Opal green), opaque yellow (K2078-Canary yellow), opaque red (K2124-Poppy red) and opaque black (K2095-Opal black), 118 mm (H) × 85 mm (W).

Arts 2018, 7, x FOR PEER REVIEW 11 of 17 and shadings of the body. The thickness of the transparent glass wall partially becomes a convex and concave lens, creating the optical illusion that a reflection of the suspended image is captured on the wall of the inner bubble. Hence, two or three layers of reflections appear as the image is viewed at different angles. In addition, the strong angled cut and polished rim magnifies the images (cf. Figure 13).

a b

Figure 13. (a) ‘Life drawing glass’ 1 and 2 (2011). Cristalica glass body with Kugler powder glass (opaque yellow (K2078-Canary yellow), opaque red (K2124-Poppy red) and opaque black (K2095- Opal black), 120 mm (H) × 140 mm (W) and 120 mm (H) × 155 mm (W)). (b) ‘Life drawing glass’ 3 (2011) Cristalica glass body with Kugler powder glass (opaque yellow (K2078-Canary yellow), opaque red (K2124-Poppy red) and opaque black (K2095-Opal black), 160 mm (H) × 120 mm (W)).

I have been inspired by the success of the dynamic lines of ‘Life drawing glass’ (2011), which encouraged me to create an Asian-style ink painting using the technique, by increasing the thickness of the line and density of the colour. A tree motif was sandblasted to a depth of between 3mm and 3.5 mm to create additional space for coloured powder glass. The parison was exposed to heat for a longer period of time during the reheating process to avoid the creation of bubbles on the line, and to allow the colour to move naturally. Once the parison had cooled for the second gather, it was reheated with a blowtorch to ensure the exterior of the parison remained hot while the interior cooled. The test revealed that ‘soft’ colours (i.e., opaque black and green) absorbed more heat and spread. These ‘soft’ colours drew spontaneous lines following the centrifugal force as the parison was continuously turned in the shaping process following the second gather (cf. Figure 14). The Artsdistinctive2018, 7, 89 quality of the lines established a potential for developing Asian-style ink painting12 of on 17 blown glass artefacts as an expressive tool.

Figure 14. 14. DrawingDrawing test test (2011). (2011). Cristalica Cristalica glass glass body bodywith Kugler with Kugler glass powder glass powder (opaque (opaque green (K2070- green Arts 2018(K2070-OpalOpal, 7 ,green), x FOR PEER green),opaque REVIEW opaqueyellow yellow(K2078-Canary (K2078-Canary yellow), yellow), opaque opaque red (K2124-Poppy red (K2124-Poppy red) and red) opaque and opaque black12 of 17 (K2095-Opalblack (K2095-Opal black), black), 118 mm 118 (H) mm × 85 (H) mm× 85 (W). mm (W). 3.2. Multiple Layers of Images/Patterns 3.2. Multiple Layers of Images/Patterns The unique property of transparent glass supported the application of multiple layers of

images/patternsThe unique onto property the surface of transparent of blown glass. glass supportedOf course, much the application depends on of skill multiple and experience layers of images/patternswhen manipulating onto hot the glass surface on a oflarge blown scale, glass. as well Of course, as the conditions much depends within on the skill studio. and experience However, whenthe example manipulating of the smaller hot glass pieces on aproved large scale, the techniqu as well ase’s thepotential, conditions particularly within thein terms studio. of However,applying themultiple example layers of theof images/patterns smaller pieces proved at various the technique’sscales. potential, particularly in terms of applying multipleFollowing layers the of images/patterns first layer of the inlaid at various pattern, scales. the parison is encased and annealed. Then a further maskingFollowing tape layer the ﬁrst is applied layer of for the the inlaid stencil-cutting pattern, the and parison sandblasting is encased of and the annealed. second inlay Then (cf. a furtherFigure masking15). tape layer is applied for the stencil-cutting and sandblasting of the second inlay (cf. Figure 15).

a b

Figure 15. ‘‘Square pattern ’ test 1 (2012). (2012). Cristalica Cristalica glass glass body body wi withth Kugler Kugler glass powder: opaque opaque yellow (K2078-Canary(K2078-Canary yellow)yellow) andand opaqueopaque blackblack (K2095-Opal(K2095-Opal black),black), 290290 mmmm (H)(H)× × 175 mm (W), two layers of pattern.

The examplesexamples ofof thethe two-layeredtwo-layered test test pieces pieces highlight highlight the the potential potential for for applying applying multiple multiple layers layers of images/patternsof images/patterns to to enhance enhance the the sense sense of depthof depth in the in two-dimensionalthe two-dimensional image/pattern image/pattern (cf. (cf. Figure Figure 16). Each16). Each layer layer of glass of physicallyglass physically creates creates an approximate an approximate thickness thickness of between of between 15 and 30 15 mm, and although 30 mm, thealthough perceived the perceived depth is increased depth is increased by the reﬂections by the re andflections refractions and refractions of the image/pattern. of the image/pattern. This enhances This theenhances three-dimensional the three-dimensional effect on the effect blown on glass the blow formn by glass developing form by the developing ‘pictorial depththe ‘pictorial cue’ (or depth cue’ (or depth perception), such as interposition9, linear perspective10, and relative size11. In ‘Tulip pattern’ tests 1 and 2 (2012), the tulip pattern on the second layer covers some parts of the pattern on the first layer, while the reflection on the inner surface of the bubble (which appears smaller) enhances the appearance of perspective (cf. Figure 16b,d).

9 The nearer image/pattern covers some part of the image/pattern that is further away. 10 Parallel lines converge and become closer in the distance. 11 The nearer image/pattern appears larger than that further away.

Arts 2018, 7, 89 13 of 17 perception), such as interposition9, linear perspective10, and relative size11. In ‘Tulip pattern’ tests 1 and 2 (2012), the tulip pattern on the second layer covers some parts of the pattern on the ﬁrst layer, while the reﬂection on the inner surface of the bubble (which appears smaller) enhances the appearance of perspectiveArts 2018, 7, x FOR (cf. PEER Figure REVIEW 16b,d). 13 of 17

a b

c d

Figure 16. ((aa))‘ ‘Japanese tattoo pattern ’’ test (2012). Cristalica Cristalica glass glass body body with with Kugler Kugler glass glass powder: powder: opaque green (K2070-Opal green), opaque yellow (K2078-Canary yellow), opaque red (K2124-Poppy red), opaque blue (K2091-Lapis blue) and opaqueopaque blackblack (K2095-Opal(K2095-Opal black),black), 160160 mmmm (H)(H) ×× 135 mm (W). Two layerslayers ofof pattern.pattern. ( b))‘ ‘Tulip patternpattern’’ teststests 11 andand 22 (2012).(2012). CristalicaCristalica glass body with Kugler glass powder: opaque green (K2070-Opal green), opaque yellow (K2078-Canary yellow) and opaque red (K2124-Poppy red). red). From From the the left: left: 1—85 1—85 mm mm (H) (H) × 115× 115 mm mm (W); (W); 2—130 2—130 mm mm (H) (H)× 140× mm140 (W). mm (W).Two Twolayers layers of pattern. of pattern. (c) Applying (c) Applying the second the second layer of layer the ofdesign. the design. (d) Detail (d) Detailof ‘Tulip of pattern ‘Tulip pattern’ test 2’ (2012).test 2 (2012).

3.3. Cutting and Polishing 3.3. Cutting and Polishing Cutting and polishing endows the finished glass piece with the dynamics of form and Cutting and polishing endows the finished glass piece with the dynamics of form and characteristic textures, while also enhancing the optical property of transparent glass. characteristic textures, while also enhancing the optical property of transparent glass. Depending on the angle at which it is viewed, the encased image/pattern appears magnified, Depending on the angle at which it is viewed, the encased image/pattern appears magnified, distorted, and multiplied. For example, the ribbed cut glass surface changes the refraction angle of the distorted, and multiplied. For example, the ribbed cut glass surface changes the refraction angle of pattern, with (when viewed from the top) the reflection of the distorted curve appearing on the inner the pattern, with (when viewed from the top) the reflection of the distorted curve appearing on the bubble surface (cf. Figure 17). The highly polished rim (or mouth) of the flat cut (cf. Figure 17d) and inner bubble surface (cf. Figure 17). The highly polished rim (or mouth) of the flat cut (cf. Figure 17d) punty (or concave) cut (cf. Figure 17e) also delivers different optical experiences. and punty (or concave) cut (cf. Figure 17e) also delivers different optical experiences.

Arts 2018, 7, 89 14 of 17 Arts 2018, 7, x FOR PEER REVIEW 14 of 17

a b c

d e

Figure 17. (a–c)‘) ‘Ribbed cut glass’ tests 1 and 2 (2012). Cristalica Cristalica glass glass body body with with Kugler Kugler glass glass powder: powder: opaque green (K2070-Opal green), (K2076-Opal li lightght green) and opaque blue (K2091-Lapis blue) (K2028-Opal(K2028-Opal skysky blue).blue). (d) Flat cut.cut. (e) Punty cut (or concave cut).

4. Developing the Artwork 4. Developing the Artwork As an artist, my intention was to use glass and porcelain to provoke curiosity in the viewer. As an artist, my intention was to use glass and porcelain to provoke curiosity in the viewer. I I chose glass and porcelain as primary materials, and glassblowing as the main means of developing a chose glass and porcelain as primary materials, and glassblowing as the main means of developing a body of artwork, in order to highlight the tensions, conﬂicts, uncertainty, and negotiations that I believe body of artwork, in order to highlight the tensions, conflicts, uncertainty, and negotiations that I arise as a by-product of the cultural exchanges between East and West. Furthermore, by combining believe arise as a by-product of the cultural exchanges between East and West. Furthermore, by the two materials, and creating familiar (or unfamiliar) images, I have ensured the artwork does not combining the two materials, and creating familiar (or unfamiliar) images, I have ensured the artwork completely ﬁt into either Korean or British visual culture. This produces a pseudo Korean-British or does not completely fit into either Korean or British visual culture. This produces a pseudo Korean- British-Korean image, capable of being viewed as a Western or Eastern image, or as a blend of both. British or British-Korean image, capable of being viewed as a Western or Eastern image, or as a blend of Although glass in the West, and porcelain in the East, developed in different cultural and historical both. Although glass in the West, and porcelain in the East, developed in different cultural and historical circumstances, the unique distinctions in both cultures tend to become more abstract and blurred when circumstances, the unique distinctions in both cultures tend to become more abstract and blurred thewhen interplay the interplay between between them becomes them morebecomes complex, more dynamic, complex, and dynamic, interactive. and The interactive. anthropologist The Niezenanthropologist(2004) argued Ronald that Niezen the revolutionary(2004) argued developmentthat the revolutionary of technologies development in communication of technologies and in transportationcommunication accelerated and transportation the speed, accelerated and decreased the speed, the physical and decreased distance, ofthe interaction physical distance, worldwide, of eventuallyinteraction resultingworldwide, in an eventually ‘unnatural’ resulting relationship in an between ‘unnatural’ cultures relationship and localities. between cultures and Koreanlocalities. Glass

KoreanMy Glass understanding of the unique properties inherent in glass, in conjunction with my investigation into the possibilities and limitations of the inlaid colouring technique, led to the development of a My understanding of the unique properties inherent in glass, in conjunction with my series of ‘Korean glass’ (cf. Figure 18). This artwork takes the recognisable pattern of the English investigation into the possibilities and limitations of the inlaid colouring technique, led to the manufactured porcelain teapot and its forms, juxtaposing them with counterfeit Korean letters and development of a series of ‘Korean glass’ (cf. Figure 18). This artwork takes the recognisable pattern patterns placed over the glass body, to question the authenticity of the object in terms of its cultural of the English manufactured porcelain teapot and its forms, juxtaposing them with counterfeit origin. Although viewers in the UK readily recognise the porcelain elements and engage with the Korean letters and patterns placed over the glass body, to question the authenticity of the object in terms of its cultural origin. Although viewers in the UK readily recognise the porcelain elements and

Arts 2018, 7, x FOR PEER REVIEW 15 of 17

engage with the familiarity of the mediums (i.e., porcelain and glass), they tend to view ‘Korean glass’ as an Oriental object, as a result of the pseudo-Korean design interrupting the first visual message, in which they identified something familiar. As such, it becomes a powerful dominant reference throughout the course of the British viewer’s visual experience of the work. However, conversely, the counterfeit Korean letters, the patterns on the porcelain, and a lack of familiarity with glass as an artistic medium, lead Korean audiences to view the object as ‘foreign’, or as something made by a foreign artist to imitate a Korean object. Korean restaurants in the UK, seemingly, can provide a better understanding of the invented exotic image that satisfies locals’ expectations, but they do provoke some uneasy feelings in Koreans. I have seen many Korean restaurants in the UK with interiors that are decorated with objects from China, Japan, or Southeast Asian countries, which are often perceived as offering an authentic Korean image by local customers. However, Korean customers can identify this as a ‘constructed’ or ‘false’ image, which then provokes some uneasy feelings of ‘embarrassment’ or ‘frustration’ in them. The counterfeit Korean letters were developed based on Internet words, known as ‘alien words’, invented by young people in South Korea and used widely on Internet chat sites and social media Artsplatforms,2018, 7, 89 i.e., Facebook and Twitter. Korean characters combine twenty-four consonant and vowel15 of 17 letters that follow certain rules to represent the correct sound and convey meaning. However, the Internet words deliberately selected inappropriate consonant and vowel letters, combining them to familiarity of the mediums (i.e., porcelain and glass), they tend to view ‘Korean glass’ as an Oriental make meaningless characters. They also integrated additional symbols and signs, along with object, as a result of the pseudo-Korean design interrupting the first visual message, in which they Japanese and Chinese letters, and the English alphabet. An example of a sentence written using ‘alien identified something familiar. As such, it becomes a powerful dominant reference throughout the words’ provides a clearer understanding of how to make a sentence using a random choice of course of the British viewer’s visual experience of the work. However, conversely, the counterfeit components. The sentence is as follows: Korean letters, the patterns on the porcelain, and a lack of familiarity with glass as an artistic medium, lead Korean♀ ̆ l 『̆ audiences구!Ω ぎじ to ; view늼 을 the why object 룍(하 as) ‘foreign’,눙(ᄀ)ざ데 or ! as ! something made by a foreign artist to imitate a Korean object. Korean restaurants in the UK, seemingly, can provide a better understanding of the The ‘alien words’ sometimes appear accidentally as a computer processing error when the Central invented exotic image that satisfies locals’ expectations, but they do provoke some uneasy feelings in Processing Unit (CPU) fails to recognise input, or as the result of the speed of typing or a technical Koreans. I have seen many Korean restaurants in the UK with interiors that are decorated with objects misrecognition. from China, Japan, or Southeast Asian countries, which are often perceived as offering an authentic The counterfeit Korean letters for the ‘Korean glass’ series are written in the style of Chinese Korean image by local customers. However, Korean customers can identify this as a ‘constructed’ or calligraphy, in order to confuse and trick the untrained eye of the UK viewer into ‘seeing’ them as ‘false’ image, which then provokes some uneasy feelings of ‘embarrassment’ or ‘frustration’ in them. Chinese or Japanese. The surface of the glass body is divided into sections with geometric patterns.

Arts 2018, 7, x FOR PEER REVIEW 15 of 17

foreign artist to imitate a Koreana object. Korean restaurants in the UK, seemingly,b can provide a better understanding of the invented exotic image that satisfies locals’ expectations, but they do provoke Figure 18. a Korean glass someFigure uneasy 18. feelings (a)‘) ‘Korean in Koreans.glass’’ 1515 (2013).(2013). I have Cristalicaseen many glass Korean body withwithrestaurants KuglerKugler glassglassin the powder:powder: UK with opaque interiors red that (K2124-Poppy red), opaque black (K2095-Opal black), opaque green (K2070-Opal green) and opaque are decorated(K2124-Poppy with red), objects opaque from black China, (K2095-Opal Japan, or black) Southeast, opaque Asian green countries, (K2070-Opal which green) are oftenand opaque perceived yellow (K2078-Canary yellow),yellow), 260260 mmmm (H)(H) ×× 190190 mm (W). ( b))‘ ‘Korean glass ’ 16 (2013). Cristalica glass as offering an authentic Korean image by local customers. However, Korean customers can identify body with Kugler glass powder: opaque red (K2124-Poppy red), opaque green (K2070-Opal green), this as a ‘constructed’ or ‘false’ image, which then provokes some uneasy feelings of ‘embarrassment’ and opaque yellow (K2078-Canary yellow), 260 mm (H) × 190 mm (W). or ‘frustration’ in them. The counterfeit Korean letters were developed based on Internet words, words, known known as as ‘ ‘alienalien words words’,’, invented by young people in South Korea and used widely on Internet chat sites and social media platforms, i.e., Facebook and Twitter. Korean characterscharacters combine twenty-four consonant and vowel letters that that follow follow certain certain rules rules to to represent represent the the correct correct sound sound and and convey convey meaning. meaning. However, However, the Internetthe Internet words words deliberately deliberately selected selected inappropriate inappropriate consonant consonant and and vowel vowel letters, letters, combining combining them them to make meaninglessmeaningless characters. characters. They They also also integrated integrat additionaled additional symbols symbols and signs, and alongsigns, with along Japanese with Japaneseand Chinese and letters,Chinese and letters, the Englishand the alphabet.English alph Anabet. example An example of a sentence of a sentence written written using ‘usingalien words‘alien’ wordsprovides’ provides a clearer a understandingclearer understanding of how toof make how ato sentence make a using sentence a random using choice a random of components. choice of components.The sentence The is as sentence follows: is as follows: ♀ ̆乙 l ̆『구!Ω ぎじ ; 늼 을 why 룍(하)눙(ᄀ)ざ데 ! !

The ‘alien ‘alien words words’ sometimes’ sometimes appear appear accidentally accidentally as a computer as a computer processing processing error when error the when Central the ProcessingCentral Processing Unit (CPU) Unit fails (CPU) to recognise fails to recogniseinput, or as input, the result or as of the the result speed of of the typing speed or of a typingtechnical or misrecognition.a technical misrecognition. The counterfeit Korean letters for the ‘Korean glass’ series are written in the style of Chinese calligraphy, in order to confuse and trick the untrained eye of the UK viewer into ‘seeing’ them as Chinese or Japanese. The surface of the glass body is divided into sections with geometric patterns.

a b

Figure 18. (a) ‘Korean glass’ 15 (2013). Cristalica glass body with Kugler glass powder: opaque red (K2124-Poppy red), opaque black (K2095-Opal black), opaque green (K2070-Opal green) and opaque yellow (K2078-Canary yellow), 260 mm (H) × 190 mm (W). (b) ‘Korean glass’ 16 (2013). Cristalica glass

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The counterfeit Korean letters for the ‘Korean glass’ series are written in the style of Chinese calligraphy, in order to confuse and trick the untrained eye of the UK viewer into ‘seeing’ them as Chinese or Japanese. The surface of the glass body is divided into sections with geometric patterns.

5. Conclusions I developed the inlaid colouring technique (inspired by Flavell 2001 doctoral research on the encapsulation of voids within the body of glass artefacts and the Sanggam ancient Korean ceramic decorative technique) to imbue my artwork with established Korean cultural values, thereby questioning the discourse on bicultural identity. The technique reinforces the viewer’s experience of cultural ambiguity by encapsulating counterfeit Korean letters and patterns on transparent glass, creating optical illusions, and conveying mystery. The development of the counterfeit Korean letters was inspired by my personal experience of being in a state of cultural in-between-ness personally, i.e., I have lived and studied in Edinburgh for approximately thirteen years, but was born in South Korea and resided there for thirty years. My intention in using ‘alien words’ was to highlight the tension, anxiety, and in-between-ness that exists in the cross-cultural experience. The technique offers an innovative and creative tool for artists in the field of glass art, enabling them to depict expressive drawings and images which are in line-drawing styles with diverse colours and in a more controlled manner. This is particularly relevant in comparison to the ‘Graal’ glass technique, which involves a hot glass-making process. The technical palette and the series of glass artworks suggest the potential for artists to use the technique in the field of glass art to further their own expression. The development of this technique highlights the unique property of glass as an artistic medium capable of offering a three-dimensional space in which to create images and designs. However, I investigated only a limited number of colours for the development of the inlaid colouring technique in this research: (1) opaque black; (2) opaque red; (3) opaque blue; (4) opaque green; and (5) opaque yellow. The glass from the furnace used to make the artwork was Cristalica soda-lime glass and the coloured glass powder was from the Kugler Glass Company. Therefore, further research is needed to discover a wider range of colours, both in opaque and transparent glass, available from different companies, and to assess their compatibility with the technique when making a parison. In this research, the sandblasted void for creating artworks, to a maximum depth of 25 mm and width of 35 mm, was investigated using opaque colours from the Kugler Glass Company. In order to achieve the dynamics in the line drawing-style images, in which lines without gradations in shade or hue emphasise form and outline, sandblast tests need to correspond with colour shrinkage and expansion tests. The technique is of great benefit in the process of building layers of images on to which the artist can then apply further images and create a ‘pictorial depth cue’ (or depth perception) related to the first layer of images. Future layered glass artwork, therefore, could be developed in order to enhance the three-dimensional effect of the flat image/pattern on the blown glass, and then it could be utilised as a vehicle with which to provide a more dynamic optical experience for viewers. A series of collaborative studies with other glass artists is also planned to demonstrate the feasibility and potential this technique offers as a model for others in the field. It is hoped that this paper will bring this technique to a new audience and open up new technical and creative pathways for future research in this area.

Funding: This research was funded by Scottish Overseas Research Student Awards Scheme (SORSAS) grant 2010–2012. Conﬂicts of Interest: The author declares no conﬂict of interest. Arts 2018, 7, 89 17 of 17

References

Bhabha, Homi K. 1994. The Location of Culture. New York: Routledge, p. 195. Flavell, Maurice Raymond. 2001. The Development and Application of the Use of Encased Voids within the Body of Glass Artefacts as a Means of Drawing and Expression. Ph.D. Thesis, Edinburgh College of Art, Heriot-Watt University, Edinburgh, UK. Niezen, Ronald. 2004. A World beyond Difference: Cultural Identity in the Age of Globalization. Oxford: Blackwell, p. 38.

© 2018 by the author. Licensee MDPI, Basel, Switzerland. This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license (http://creativecommons.org/licenses/by/4.0/).