Glass and Print
An ongoing exhibition of artists using printmaking in combination with glass curated by Dr Kevin Petrie.
Introduction
Over recent years there has been considerable interest in the creative potential of printing onto various alternative surfaces. This has been particularly apparent in the fields of Ceramics and Enamels, leading to the exploration of new methods of working and subsequently a number of exhibitions and conferences.
Printing onto Glass offers incredible potential for artists due to its transparency and flexibility. For example:
- In Kiln formed glass, printed imagery can be sandwiched within a glass form. Relief surfaces can also be created by casting glass into moulds taken from lino printing blocks.
- In Glass blowing, prints can be applied to glass and blown into three-dimensional shapes to create amazing distortions.
- In Architectural or flat glass a vast range of aesthetic imagery can be directly screenprinted onto sheets of glass in a fast and economic manner.
At present however, there appears to be very limited accessible information on the many creative possibilities of Glass and Print. This exhibition shows some of the diverse creative applications of printing onto Glass through images of contemporary works supported by artists' statements.
New images will be added to this exhibition periodically. If you are working with Glass and Print please contact Gateway to Glass for possible inclusion. Dr Kevin Petrie, curator, is currently researching a book on Glass and Print to be published by A&C Black.
Bob Budd - UK
Why do I use print on glass? I print photographic imagery onto glass. Printing (with pigments which are fired) seems the best way to produce permanent images, which have the kind of luminosity, I want. It might be feasible to use Cibachrome, if the images do not need too long a life, or put a photo emulsion onto the glass, but once again you have problems of longevity and that the image could be scratched off. The other way might be to print a resist onto the glass and sandblast or etch the glass. So the answer is... because it gives me the 'look' I am happy with, at the moment. Whether this is classified as 'practical' or 'artistic' I'll leave you to decide.
Glass/Photography Installation |
Glass/Photography Installation |
Binita Walia - UK
Berend Strike & Hans van Houwelingen - Netherlands
Kevin Petrie - UK
These pieces are from a series of work in which screenprinted transfers of drawn imagery are enclosed within kiln glass to represent passing thoughts, feelings and memories in, Narcissus like, mask forms .
Photofit |
Cell of himself
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Sasha Ward - UK
All works screenprinted glass.
I have been working with enamels fired onto glass for about 18 years. I started using enamels to try and achieve transparent colour, as well as several colours on one piece of glass. When the commissions I undertook became larger, I found that the only way to get a strong transparent colour over a large area was to screenprint the enamel. I work with a factory (Proto Studios) for large commissions; but screenprint, handpaint and sandblast smaller ones in my studio.
Leeds General infirmary ceiling (Detail) |
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Panel |
Canopy and Sign |
This exhibition was first shown on IIRG's Gateway to Gkass website (www.gatewaytoglass.org).
