1/2 done section!

Steel rod cut, textured, and welded.

Sanding slag off the texture.

The steel rod is cut to length with a band saw and then textured with the plasma cutter. The texture's created by slicing into the surface of the rod in a shallow manner over and over, eventually forming a pointed end that will flow across the glass and is welded into place.

Plasma cutting the texture into the rod.

Base, Metal section

Each side of the triangular metal section at the base has a design of interwoven and free form segments, making a grid. The design has a "root" like quality, while maintaining the Asian feel of the metal crystal section higher up in the sculpture.

The steel rod is bent slightly for a graceful curve, and then cut into lengths that co-join at irregular intersections. The colorful glass follows a flow from the bottom to the top of the sculpture. There's a glass element at the foundation of the structure on each of the 3 sides. The metal rod subtly intersects the glass at places and melds the tow mediums into a continuum.

Todd cuts down the 20ft lengths to fit into the back of the rig for transport back to the shop.

Some 5/8" steel rod from stock supply.

Week 19- the next phase of metal work

BBC Remnant Yard, Canby OR - that is worth the trip.

Two views of progress, the unfinished metal grid section and then the next section of the sculpture that will hold the large glass panels aboe the grid.

6x6 water element tiles.

Mid section - water and fire.

Water panel - bottome and middle.

Water section - wolf detail.

Water section - whale detail.

Opening the kiln. First view of fused water section.

Building the water mid section.

Week 18- stuck in the middle

As I continue working on the glass for Mari's Fire, a pattern has appeared. It is clear that I need to make sure the sides and bottom match the previously made pieces. This helps to guide how I start the construction. I also have in mind the vision for the top three sections. I am tending to work from the bottom toward the middle and then the top to the middle. So the middle is where I get "stuck." This becomes more trial and error, putting pieces of glass down, looking at glass combinations on the light box, and trying frit animals. I usually need to leave the piece- let it sit in my mind, go work in the garden, sleep on it and have faith that the vision will come. The next time I start the work flows.

Fire element bottom and mid sections

Frit mountain lion detail

Frit dragon detail

Piece out and back lit

Kiln open and first look - this is always very exciting

Eeva's frit elements are "mapped" so they are not lost

Ready for the first fire

Piece continued to be built

Glass and frit continued to be added along with frit painted dragon element

The large mid section and small element tile starting to be built

Glass tray being made for mid fire section

Week 17- in the kiln

The mid section template fit both the sculpture structure and the kiln. Work on mid sections began. Once fired the piece was checked for glass structure and composition quality. Although it seemed sound, I noticed that during the firing process some stress fractures occurred on the back and then fused. I decided to fuse again with a slower ramping program. I laid the piece face down on the kiln floor. The advantaged to this is I can make the face side flatter and add clear frit to the back to strengthen the piece. The disadvantage is that I will have to turn the piece and fire once again to have the face side shiny. The more fusing of reds and yellow the more affected the purity of those colors. After the second fuse the piece still looked good. I took the opportunity to add some glass to the front so that the large mountain lion will be more subtle.