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GRAND BLOOM OF FULFILLMENT LIULI PUBLIC ART AT PAVILION CRYSTAL FOUNTAIN Design, Production: Loretta Hui-shan Yang, LIULIGONGFANG |
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Hibiscus is the national flower of Malaysia, it is opulent and progressive, it is passionate, it is the goodness in life. Converging water comes from all direction, an endless source everlasting its flourishes and prospers. Referencing “three”, The Chinese Book of Changes proclaims: from one comes two, from two comes three. From three comes all living creatures. Three layers, representing the three overlapping nationalities that comprise the complex Malaysian culture. |
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Liuli artist Loretta Hui-shan Yang designs Pavilion Crystal Fountain (Grand Bloom of Fulfillment) for FIABCI Prix D’Excellence – Best Retail Centre award winner, Pavilion Kuala Lumpur. This is Loretta Hui-shan Yang’s first liuli outdoor public sculptural fountain. On 4 July 2009, the fountain was officially opened by Tourism Minister, YB Dato’ Sri Dr. Ng Yen Yen. Accomplishment of the Pavilion Crystal Fountain is the artist‘s breakthrough in creation, surmounting limitations in size and unifying the beauty of liuli colours and latest lighting technology. In her hands, it becomes another annotation. Pavilion Crystal Fountain surpasses current development in liuli art, becoming world’s first lighted liuli public art. This fountain becomes Kuala Lumpur’s another public landmark. Pavilion Crystal Fountain The fountain features the Bloom of Hibiscus, the national flower of Malaysia, a symbol of opulence, passion and progression. The three bowls represent Malaysia’s multiracial culture living harmoniously in unity and ascending to signify the growing aspirations of the people. The water converges from all directions, an endless source of blessings and prosperity. This crystal glass fountain bestows luminous wealth upon the city and the nation. The essence of this fountain is a reflection of our Prime Minister’s “1 Malaysia” vision. Loretta Hui-shan Yang & Liuligongfang’s breakthrough in creation Since 1987, Loretta Hui-shan Yang dive into Liuli art and founded Liuligongfang, her painstaking research successfully revive Chinese pate-de-verre. She has never falter in these years and rooting Chinese traditional culture as a basis, she made use of the crystalline characteristics of liuli to interpret life’s philosophies. Today, Loretta Hui-shan Yang once more daringly explore the techniques and expression of Liuli, using cold-work and supersizing embossed liuli and break through the current size of the kiln. To-date, the world’s largest liuli art is 1.5 to 2m, while ‘Grand Bloom of Fulfillment’ biggest diameter is 3.5m! In terms of the medium, never-before-seen using silicon carbide which the hardness is only slightly inferior to that of a diamond. Powdered liuli hibiscus looks like a single color from far, but yet nearer, it has rich colors that is made up of different colored fine sand which made the flower so life-like, like a picturesque of liuli sands. Loretta Hui-shan Yang expressed, “20 years of pate-de-verre, let us realize, only with powdered liuli sands can we display such an effect. Of course, it is the most intensive technique in these 20 years. From design to production, the two years spend was far from expected.” The entire production of the fountain, gathering the team of the best designers and engineers in Liuligongfang, Loretta Hui-shan Yang personally supervises the entire progress. From the production in Shanghai to Malaysia’s installation progress, amidst her busy schedule, her stay in Kuala Lumpur made sure she can view the progress day and night. Blessings from The Pavilion Crystal Fountain Floral creation is Loretta Hui-shan Yang’s expression of life cycle. Her unique feminine touch and interpretation shows through her recent years on international exhibitions such as Capazza Gallery in France, Leo Kaplan Museum in New York etc. In 2008, her debut exhibition of “The Proof of Awareness” in United States received overwhelming response. It was acquired by professional glass museum, Corning Museum of Glass and New York Arts and Design Museum. Loretta Hui-shan Yang is the first Chinese whose art was collected by both museums at the same time. Her determination in her creation, each art work brimming with the artist’s passion for life. The Pavilion Crystal Fountain flows endlessly and set a new page in the land of Malaysia. |
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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
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
Pour molten wax into the negative silicone mold.
Step No. 3: Infusion of molten wax. Fill wax into a negative mold.
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
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
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
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
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
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
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.
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.
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