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A Thread of Light: Colin Reid and Three Generations of British Kiln-Glass Artists

Exhibition Grand Opening in LIULI Museum in Taipei

For thirty-three years, LIULI has maintained the importance of introducing global perspective of glass art to Asia. We have done so through exhibitions and appearances by the artists themselves. We believe in cultural exchange. We believe that for others to understand us, we must take the time to understand them as well.

Today, Colin Reid, who was a student of Keith Cummings and is an artist with a realized vision whose work has influenced upcoming generations of glass artists, brings to Taiwan an esteemed group of UK’s top glass artists with a body of work that can be found in the collection of 70 renowned museums worldwide. We are grateful to have a first-hand conversation with artists across 3 generations: Keith Cummings, Colin Reid, Joseph Harrington, Karen Browning, Fiaz Elson, Angela Jarman, Bruno Romanelli, Richard Jackson and Sally Fawkes, and exchange our thoughts as contemporary glass artists.

Colin Reid shared on the exhibition press conference, “Making a career as an artist is a difficult path in life. How to balance the often conflicting demands of surviving financially and staying true to your artistic integrity and vision is challenging. What Loretta and Mr Chang have built with Liuli Glass is an extraordinary achievement in addressing those issues. The model of building a network of galleries in Asia and the USA, together with studios and museums in Taipei and Shanghai, allows Loretta to pursue her own creative work and provides a platform for international exhibitions such as this one. It’s not a model I have seen anywhere else in the world. I am deeply impressed.”

Co-curator Andrew Brewerton also commented, “This exhibition has a very special kind of intimacy as well as historic significance. Nine artists, three generations. A single luminous, vitreous medium developed successively across a rich diversity of creative practice. Glass history, and the international studio glass movement, in the making.”

 

Exhibition Info:

LIULI Museum Taipei:
No.133, Guang-Fu S. Rd., Xin-Yi Dist., Taipei, Taiwan, R.O.C

Exhibit Period:
Sep 8, 2019 -- Mar 8, 2020

Official Exhibition Website:
“A Thread of Light”

Exhibition Photo Gallery:

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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