There are so many different forms of glass art: blown, stained, cast, cut and fused. And, although we often think of blown glass when it comes to contemporary glass artists, fused and cast glass are certainly becoming highly sought after too.
Today we had a real treat when we got to hear glass artist Emma Varga speak at the Palm Springs Art Museum about her work, especially her "Story About Red," and the process she used to make Ocean #40 that is currently being exhibited at the museum. Originally from the former Yugoslavia, she has lived in Australia since 1995 where she has continued to make her fused glass cubes, screens and obelisks.
The color red has really been an inspiration for her. Beginning with the civil war in Yugoslavia where red was for blood, to the red skies of the sunsets outside her home in Sydney, to the red of the horrific brushfires of Australia, to red symbolizing stress and fear, to red symbolizing love and hearts. And, although this color is very striking in her work, it is really the various layers of glass and the way in which she works to imagine and create the piece almost knowing its full outcome when it comes out of the kiln.
(A collection of many of Varga's work in red from the catalog, The Story About Red [ISBN 978-0-646-48211-8].) When she described and showed the process to make Ocean #40 that is at the museum, she showed us how meticulous she was in cutting and sorting the glass by color and length before she assembled the pieces. She even constructed the various glass pieces in such a way as to trap air bubbles in lines so that when the completed work is shown it has that appearance of looking through a slice of water. Having seen and heard this lecture, I can certainly appreciate and understand her work even more.
In describing her work and technique she says ...
"To make each of these sculptural objects, it is necessary to cut thousands of tiny glass elements from clear and transparent coloured glass sheets and combing them with glass frits and stringers.
It takes two weeks to fire and slowly cool down large sculptural works, then a further two weeks to grind and polish all of the surfaces to perfection. Only then it is finally possible to see the inside; all the fine details and veil-like structures floating in the sea of clear glass." - The Story About RED by Emma Varga.







































