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Musée des Arts Décoratifs Acquires the work of Loretta H. Yang and Chang Yi

Posted: February 24, 2016

Musee des Arts Decoratifs has announced the acquisition of Loretta H. Yang’s Formless but Not Without Form - The way of Bodhisattva and Chang Yi’s A Realm of Zen within Fire - Parrot Tulip. This will be the first Chinese liuli art acquired for the museum’s permanent collection since its inception in 1904. With this addition, Musée des Arts Décoratifs joins the Victoria and Albert Museum in London, Bowers Museum in California and the National Art Museum of China in Beijing in housing the work of Yang and Chang among their respective collections.

Century old Parisian institution acquires Chinese liuli

Chief Curator of Musée des Arts Décoratifs Jean-Luc Olivie first laid eyes on the work of Loretta H. Yang and Chang Yi in September 2015. He recognized the conceptual and technical mastery of the pair and their impact on the future of glass art.   He announced then and there his wish to acquire their work to bolster the museum’s collection of contemporary glass art. Singling out Chang’s A Realm of Zen within Fire, he says, A black bottle with opaque flowers - this piece is truly museum worthy.

For over a century, the Musée des Arts Décoratifs has solidified its status as an indisputable authority on glass art and kept a watchful eye on the development of the genre. Among its collection is the work of Émile Gallé , Henry Cros, François Décorchemont and acclaimed contemporary glass artists. The addition of Chang Yi and Loretta H. Yang’s liuli masterpieces to the museum’s permanent collection fills the institution’s void of contemporary Chinese art and confirms the artists’ global influence and status.

A milestone for contemporary Chinese glass art

This acquisition also marks the first time the Musée des Arts Décoratifs has received an endowment from a private collector from Asia. A common practice among contemporary art museums in Europe and North America, the exchange builds a relationship between the artist, collector and museum. It also extends the longevity of the genre and enriches the public space with what would have been privatized. This endowment permanently links the collector with the museum and with contemporary Chinese art.

*Musée des Arts Décoratifs

The Musée des Arts Décoratifs is located within the west wing of the Louvre and with over a century of history, is one of the most important contemporary museums in France. Former French Minister of Culture Jack Lang started an initiative that would join the Louvre, Musee d’Orsay and the Musée des Arts Décoratifs; the three institutions would eventually become the world’s largest museum collective.

*Jean-Luc Olivie

A key figure in the establishment of the museum’s glass department, Mr. Olivié has greatly bolstered the museum’s collection of contemporary glass art. He has curated many pivotal exhibitions and has served as editor on several glass art tomes. Mr. Olivié is indispensable member of the contemporary French art world, especially in the realm of glass art.

Jean-Luc Olivié attends Loretta H. Yang’s solo exhibition at the Ateliers d’Art de France’s Collection Gallery. Mr. Olivié warmly praises the two artists’ work and personally take them on a tour of the museum. He also announces his desire to collaborate with Yang and Chang.


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Artist/Founder Loretta H. Yang leads a team of experienced artisans to create arts that honor the richness of cultural heritage and value.

Step No. 1: Design and sculpting

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Step 2 of the process involves coating our original clay sculpture in silicone. Layer after layer (3 to 7 layers) is fastidiously coated to produce a negative mold, a crucial step in capturing the prevision of the sculpture. Each layer must dry completely before additional layer is applied, thickness must be uniform to prevent leakage of wax. Once complete, the clay is removed to reveal a negative silicone mold.

Step No. 2: Silicone molding

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Pour molten wax into the negative silicone mold.

Step No. 3: Infusion of molten wax. Fill wax into a negative mold.

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Once wax has solidified and cooled, release the wax form by carefully peeling back the silicone mold. Like a butterfly molting, the silicon is shed to reveal a positive wax form.

Step No. 4: Shedding of silicon mold to obtain the wax form

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A careful refinement of the wax sculpture. Because every microinch and subtlety plays its own role in the grand scheme of beauty. Our artists refine the wax mold to its final perfection.

Step No. 5: Wax form refinement; removing imperfections

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The wax mold is placed on a wooden plank in a metal container and plaster is poured and solidified. Embedding wax form with fire-resistant plaster.

Step No. 6: Coating the wax sculpture with plaster to form a refractory mold

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Wax is steamed out of the plaster under high heat yielding a negative plaster mold.

Step No. 7: Removal of wax with steam—the essence of the “lost-wax” process

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Liuli ingredients are created through unique firing and processing of glass. Color and size appropriate pieces are placed within the plaster and fired.

Step No 8: Choosing color; kiln firing

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Fire and melt. Under intense heat, a new vision of transparency and clarity is born.

Step No. 9: Re-firing at 1,400 degrees Celsius

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Extreme patience and care are necessary when removing the plaster to prevent damage.

Step No. 10: Removal of plaster mold

When the art pieces emerge, our masters step in to carefully chip away the plaster mold. Like excavating fragile archaeological relics, one false move and you're left with broken shards.

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First comes die-cutting - smoothing the crystal down to the last microinch. Rough polish, removal of excess support, refinement and fine surface polish with a high-speed fabric wheel.

Step No. 11: Retouching of details; burnishing and polishing

Our artist refines and re-polishes each and every detail yet again.

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An etched number on the base of each piece indicates its limited edition and reminds us to never stop creating. After the engraving - an official LIULI artwork is born.

Step No.12: Final inspection; etching of serial number; packaging