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  • A lot of artists talk about this thing called flow

  • when they're making art work.

  • You wanna be in tune with the movement of the glass.

  • And this beautiful rotation.

  • You're centering your thoughts,

  • and you're centering your body.

  • And you have those moments

  • where you're only making your glass

  • and you're at one with it.

  • It's beautiful.

  • My name's Lisa Aronzon,

  • I am a glass blower.

  • We're in my glass studio in Broadway, Virginia

  • which is located in the Shenandoah Valley.

  • The first steps in glass blowing

  • are turning on the ovens and prepping my tools.

  • The furnace is always on.

  • That's where the glass is kept.

  • The glass comes in these 50 pound bags.

  • I'm gonna be putting it into the charging chute.

  • I've got a crucible inside the chamber of the furnace.

  • That's where the glass lives.

  • We'll fill it up once a week.

  • It maintains a temperature of about 2,000 degrees.

  • After I've got the equipment coming up to temperature

  • I need to prepare my color for the day.

  • Most people think the color is a paint.

  • It's not a paint, it's actually colored glass

  • that's been formulated by chemists.

  • It can come in powder,

  • it can come in bar color,

  • which can then be sawed up into chunks for me to preheat

  • in the color oven.

  • Then I will gather up a little bit of glass

  • from the furnace, open the color oven,

  • pick up our pieces of color.

  • One of the aspects of colored glass

  • is when it's hot it looks black

  • so we need to know where all the colors are

  • and they have a specific slot in the pipe warmer.

  • Now each time we go into the furnace

  • I'm gonna turn the pipe into my clear glass

  • and wind it onto the end of the blow pipe.

  • Like putting honey on a spoon,

  • that's called taking a gather.

  • And we count our gathers so we know how much glass we have.

  • So I'm gonna be taking a gather of clear glass.

  • I'll go right into my crushed up white color,

  • which gives me a base coat.

  • Then I'm going to shape and cool that bubble

  • to a point where it's warm enough

  • to accept the color that my assistant Chad

  • is then gonna bring over to me at the bench,

  • where I'm going to be directing the color where I want it

  • on the bubble.

  • Alright, I'm gonna do little dots, Chad.

  • I'm dialoguing with the piece,

  • and I let it just be that free.

  • Like am I gonna make a circle

  • or am I gonna make a squiggle?

  • And Chad actually assists me with this.

  • He'll help hold the pipe and make sure

  • that I can get a really nice crisp circle.

  • Color is my biggest thing, I love color.

  • And so whenever I even talk about glass blowing

  • I'm always talking about painting with the glass.

  • I was inspired by stained glass windows.

  • Especially from the 13th century.

  • Finding my own voice came from looking

  • at what interested me.

  • Art history and nature, these are my biggest influences.

  • The glass blowing bench is where the gaffer sits.

  • The person blowing is a gaffer.

  • I've been able to work with Chad Kaufman for five years now.

  • He had a degree in glass.

  • The thing about glass blowing is years of practice.

  • It can take up to 10 years to actually become skilled

  • enough to be able to make it work.

  • And it is time on the bench.

  • I listen to the radio when I'm alone in my studio.

  • And there was a speech from the president

  • asking America at large to help our veterans

  • come home from Iraq and Afghanistan.

  • And so I thought, what if all the glass studios I know about

  • came together and offered a class to veterans

  • as a fun introduction into our craft?

  • All of the studios, they all jumped on it.

  • I started with 25 schools across the country

  • and it's been going on for three years now.

  • After I finish the color work,

  • I'm going to encase the color with one more gather of clear.

  • When I take that gather I immediately go to the bench.

  • We block that gather and we're gonna be cooling it

  • and shaping it so that the bubble will blow evenly

  • when we put the air into it.

  • The wooden blocks are made out of hardwood.

  • It's like a ladle and it needs to be kept wet.

  • Because it's wet when it touches the glass

  • it actually creates a layer of steam.

  • The steam will take the heat away from the block

  • and not burn it.

  • And the same with the newspaper.

  • If it's kept wet, the glass will ride along

  • and not burn through.

  • That's why I have the ability to use the newspaper

  • and not burn my hand.

  • It's the closest you come to being able to touch the glass.

  • After I've used the block to shape and cool

  • we're just gonna be heating the glass

  • where I want it to move

  • and cooling where I want it to stay still.

  • Alright, blow Chad.

  • Stop.

  • So incrementally we're gonna be getting this bigger,

  • starting to expand the bubble now.

  • For this particular vase I want a cone shape.

  • So I heat the bottom part of the ball.

  • I have to hang the piece down using gravity

  • and centrifugal force, and I'm letting the ball

  • go from ball shape to cone naturally.

  • Then Chad prepares the lip wrap.

  • This wrap is like a frame or a finishing touch

  • on the edge of the piece.

  • And that went on beautifully, yay!

  • Once that's done we can continue to open the piece.

  • And that's continuously heating

  • and then going back to the bench and using the newspaper

  • to shape, and we're getting the glass hot enough

  • to manipulate, and then we call it spinning it out,

  • and dropping it down,

  • which then gives me the ruffle.

  • After we've ruffled the piece

  • we'll use the torch at the bottom to get that area warm

  • and then get an even temperature throughout the whole thing

  • down to around a thousand,

  • and I take successive heats,

  • usually two or three.

  • Then when I tap my pipe the vibration will crack

  • the piece off.

  • Chad, he's gonna be placing the piece

  • in a 900 degree oven where the piece needs to cool

  • for 12 hours to make sure there's no internal stress

  • in the glass.

  • The next day it's at room temperature.

  • I can take the piece out of the oven

  • and then I have to grind the bottom on a,

  • we call it a lap wheel.

  • When it breaks off the punty there is actually

  • a little remnant of glass.

  • And that has to be ground off and then the piece

  • can stand up straight.

  • The very last thing I would do to a piece

  • is use a engraving tool and sign my name, and date it.

  • Afternoon light is always kind of beautiful

  • coming into a piece of glass 'cause it'll come down

  • at a lower angle, and light the piece

  • as if from within.

  • People think, oh, they'll see my vase,

  • and they'll say "I don't wanna touch it."

  • And I say to them,

  • you touch glass every day.

  • You pick up a water glass without thinking about it.

  • My pieces are utilitarian, I want them

  • to put their fruit in it, and have it as everyday beauty,

  • something that they live with and use,

  • and not be fearful that it's too precious

  • and that it needs to be on a pedestal.

A lot of artists talk about this thing called flow

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B1 中級

在900度的高溫下,將玻璃變成藝術。 (Turning Glass Into Art at 900 Degrees)

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    林宜悉 發佈於 2021 年 01 月 14 日
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