GAIA'S PALETTE

Gaia's  Pallette

Removing the latex release on the backside of the panel.

Close-up of silica grit and glass.  I will vacuum off

all excess grit when the epoxy is cured and the glass

will be totally exposed.

 Adding black silica grit before the freshly poured 

epoxy hardens.  The grit  subdues the sheenof the bare 

epoxy surface and produces a matte finish.  This will 

allow for a maximum effect of the vibrant colors. 

If, however, the panel is to"live" in the landscape, 

then it's advisable to omit the application of the grit. 

The grit will accumulate dust, grime and bird 

droppings, making it difficult to clean. 

Upper Panel (35" X 27")

Latex release is poured between the cut and faceted glass. 

The release agent prevents the final epoxy pour from 

bonding to the fiber-board and cartoon substrates

as well as from flowing under the slab glass.

Lower Panel (37" X 27")
Glass is resting directly on the building plastic and design cartoon.

At this intermediate stage, I have secured the wood dams  to a fiber-board underlayment and placed the  dalles de verre (slab glass), cut with a masonry wet saw, over the design cartoon. I've placed a protective layer of building plastic over the design cartoon in preparation for the next step of pouring an intermediate layer (about  1/16" thick) of latex release agent. The photo is taken before the pouring of the latex release.  

The design and the colors are taken directly from Mother Nature and are the result of looking and sensing closely over many fall seasons. The intensity of the dalles de verre (slab glass) medium is my way of imitating and honoring the magnificent colors, shapes and relationships She presents to us year after year.

I enjoy this intermediate stage as the crisp freshly cut slab glass begins to show the strength of the original concept. The faceting of the glass and pouring the epoxy will  draw out new intensities and  proximity tensions between the glass pieces. 

Detail

Spontaneous, informal symmetries appear as if by magic.

Summer Celebration

Preliminary color sketch and value study

 The Dalles de Verre (Slab Glass) is cut, faceted and positioned. The perimeter steel reinforcing is placed. The latex release agent is poured.  It will cure in several days.  The panel is then ready for the thermoset epoxy pour. 

The epoxy pour completed, the wood dam is removed. Steel reinforcing is exposed along with eyelet hooks embedded into the epoxy.  No texture grit is applied to the viewing side, as the panel will "live" outdoors.  (If grit is applied, it will accumulate wind-driven dirt and bird droppings.  It is very difficult to clean!)

The panel is turned over and the latex release agent is removed. (The release agent performs three functions: a) It holds the slab glass's  position during the epoxy pour b)  It prevents the epoxy from flowing under the glass and c) It prevents the epoxy from bonding with the substrate surface, below the glass.)

The finished panel with morning sunlight!

In late morning the glass and color become even more lively

Progress Photos: Day Lily Lamp

Working in Leaded glass offers a new set of color opportunities. Here are some progress photos of the Day Lily lamp, as of 8/19/2010

Some variagated glass I'm using 

Using a rudimentary light table for variagated glass 
is a useful way to transfer the pattern for cutting

Kate with 30 sec. light table

Plan View of lamp.  Each glass panel

will be 7" wide X 11.33" high

 (Golden Mean proportion)

The total frame height is 15 1/2" tall.

Working from the center outward works best 
when leading the panel!

This is the fun part
as the design comes alive.

Checking the newly cut wood frame before 
securing.

Panels ready for soldering and caulking.  

Mahogany frame ready for transparent stain. 

Completed lamp.  I need to make chain
 suspension adjustments for level presentation. 

My initial 

image of the lamp 

is almost there!

(Final photos to have lower wattage bulb.)

Montana Ash - Leaded Glass

These two panels frame an exposed masonry fireplace.

They are only a few feet away from the original  ash tree.

The panels and the light work their magic in various seasons and times of the day.  Here the panel is backlit at dusk.  They are currently located in a residence in Helena, Montana.

Cattail Panel - Leaded Glass

Immersing ones self in the spell of a long Montana winter happens when coming to the present moment and noticing the amazing animation (sometimes frozen, suspended animation!) in the landscape.  The design came during a long walk along a frozen puddle filled, gravel country road.

The panel is 32" by 20 inches and resides in West Yellowstone, Montana

Leaf Lamp - Leaded Glass

The design elements were taken from a larger sketch of wild foliage growing along a small Colorado mountain creek. The panel segments literally arrayed themselves in the final design.

The lamp is 38" in diameter, weighs 40 lbs. and is now located in Boulder, Colorado.

Stream Bed Lamp - Leaded Glass

 The lamp's design began on a walk down a sun-baked, dried out stream bed.  Patterns in the baked clay, interspersed with the occasional fallen leaf and stone were outrageously beautiful.  The finished lamp is 36" in diameter and weighs 35 pounds. 

The lamp now resides  in Grand Junction, Colorado