Abstract

This practice led research is focused on encapsulating complex flameworked glass components
within the interior and on the surface of sandcast glass objects. This research develops new
techniques and enhances old methods associated with hot glass inclusion processes to achieve
consistent and repeatable results. The practical problems associated with the encapsulation
process are smearing, elongation and cracking. Further undesirable effects caused to inclusions
whilst casting are misplacement, contamination and breakage.
The technical investigation is built on the methods of two artists, José Chardiet and Paul
Stankard. The research concentrates on the adaptation of the pre-heated mould technique and
paperweight inclusion techniques. Through mould pre-heating a new process called the
‘transitional’ inclusion has been developed. This technique negates misplacement of inclusions
during casting, breakage from exposure to cold or distortion.
Paperweight techniques are utilised for the ‘floating’ inclusion, a historical technique. The
‘floating’ inclusion in conjunction with paperweight encapsulation techniques allowed for the
creation of detailed inclusions floating between the glass strata. Paperweight techniques
counteracted undesirable encapsulation reactions between the flameworked elements and the
negative effects of heat, contamination and the flow of molten glass during the casting process.
A second new technique called the ‘partial’ inclusion is developed using a metal mandrel to
create negative holes in the cast during sandcasting. These holes can be used to add
flameworked inclusions to the surface of the annealed sandcast with a glass post. This
technique negated the need to find compatible glass for casting.
A series of artworks are produced to demonstrate and further develop the new technical
processes. The themes behind the artworks are unraveled through three case studies. The
inclusion can be used within the body of the sandcast in diverse ways and their relative
placement generates potential for a rich new visual language in glass art. These new
techniques offer a conceptual opportunity for the artist to articulate the human condition. In
conclusion this investigation contributed to new knowledge by generating new encapsulation
methods for use in glass industrial design, studio production and to enhance the individual glass
artists’ palette.