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Hot glass murrine, kiln formed panel
Amelia’s work is about taking tiny close-up details of the natural world, such as Lavander and reinterpreting them using hot glass to produce glass art. This piece is carefully constructed using hotglass murrine which Amelia has pulled in her hot glass studio then cutting them before building them up to create a large tile of murrine. The movement, colours and cellular structure of Lavander is the inspiration of this piece.
This is a One-of-a-kind piece.
Photo Credit - Simon Bruntnell
Amelia works as part of E&M Glass, a family run hot glass studio based on the Welsh border, making her own creations with her husband as well as the studio glassware. Amelia’s work is about taking tiny close-up details of the natural world, such as butterfly wings and fern fronds and reinterpreting them using hot glass to produce glass art. Patience and Amelia’s contemporary glass go hand in hand. The detail she aims to create in her work is time consuming but necessary to the process.
Amelia studies all aspects of a subject whether it fauna or stunning creatures. Amelia has Trypophobia which is "an aversion to the sight of irregular patterns or clusters of small holes or bumps". Rather than shying away from this, she has chosen to steer in to it. The subjects she studies are taken from form down to cellular details, reinterpreting the elements using hot glass to create intricate art. Within the cellular form is where Amelia finds it the most arduous to work through and where the Trypophobia really is emphasized. And she reinterprets this in to her glass making.
Amelia starts the process of making her glass art by gathering molten clear glass from her furnace and coating layers of coloured glass in between each gather of clear glass. After enough layers have been formed, she then pulls the hot glass across the studio creating cane. When the cane has cooled, they are cut into small cross-sections which then form murrine. Amelia must repeat these processes numerous times to have sufficient components for the piece. Once the components are complete, she will stand each individual tiny murrine on to her kiln shelf. This is where the most patience is necessary. One little knock and they can all fall like dominoes. Patience is fundamental to Amelia’s artwork. The composition is then fused in the kiln. Once the murrine tile is fused, Amelia either frames the piece as it is or then rolls it up in the hot glass studio to blow in to a vessel form.