Hot N Spicy

Be sure to check out “The Making Of …” this work.

The name says it all for this stunning 3 feet by 2 feet fused art panel!

These photos don’t pay justice to the striking colour depth of the red, orange and marigold opalescent glass used in this work. Black and select large coloured frit enhances the fissures for a textured effect.

Note on mounting/hanging: The artist recommends this panel  be mounted on a wall to create a “floating” effect, using one of various hardware methods.  Greg does not commit fused panels to a mounting method at time of completion; in consultation with the purchaser he will utilize a chosen method that best suits his/her design and viewing preferences.

6 thoughts on “Hot N Spicy”

  1. Hi, Nenagh,

    Thanks for noticing the contoured edge – it’s certainly more interesting than square dimensions! (Notice there isn’t a straight line in the whole work).

    The contour does add some significant production work, particularly how I finish the the edge:

    This technique allows the black bottom layer to be visible around the edge of the work – it turned out perfectly here. (On platters and other vessels I do the reverse: the top layer bleeds around the bottom layer, concealing it).

    This is not a commissioned work – so to anyone reading this work is available for sale.

  2. Hi Greg,
    Love the colour combinations and the name is a sure fit for the piece. I’m sure that the contoured edges were quite a challenge. Quite stunning!!!

  3. Hi, Bill,

    As this piece is completely opalescent you’d want to illuminate it from the front, as you would a painting. For transparent and clear works you may want rear illumination if not hanging in a window frame (you’ll see more works of this nature from me in the coming months).

    Like oil paints, and with naturally rich colours as these, the key is to use lighting that maximizes colour rendition (the visible light spectrum that is reflected off the work). Halogen bulbs generally do this the best – I use MRC-16 50 watt bulbs mounted in track light fixtures; there are 12-volt halogen bulbs and fixtures in a number of designs that work quite well; plus there are bigger halogens in the “PR” line for larger areas (you’ll see these often used in galleries).

    Aside from ensuring proper rendition, I suggest using lighting in focused beams (some bulbs actually state what degree of focus they project). A work looks great when it’s virtually isolated by the light: you see it immediately when entering a room and its qualities are more apparent when not competing with other room elements. Look for fixtures that can be directed to the work: track lights do this by their nature; there are retro fixtures that replace old pot lights that achieve this; plus 12 volt halogen fixtures come in many interesting designs (such as flexible cabling you can bend in any direction).

    I have some comments below on lighting design that go a bit beyond your question, Bill. I think this is a good place for some perspective on this – read at your option!

    When I designed the studio I was surprised at what little information there was online with regard to lighting quality (from this rendition perspective). There are several CAD/CAM plug-ins for architects to integrate lighting requirements into their designs, but they are very technical and way above my needs. I could find nothing for the layman. Electrical wholesalers understand these needs but can’t offer much advice – I don’t understand why as it would be good value-added for their electrician customers. Questions such as: How do I design-in task lighting requirements versus ambient lighting? How many lighting fixtures of a given type do I need to illuminate a given area? What wattage(s)? How should they be spaced apart? How many MRC-16 spot fixtures are required to properly illuminate my working area? These questions apply for illuminating one art piece, whether on a wall, pedestal or niche; or for a gallery space where ambient lighting levels become an added factor.

    To satisfy my lighting quality needs it came down to a guess for me: I over-designed everything and used dimmers on the pot lights to bring down the ambient light level at my option. Task illumination was achieved with the MRC-16 track light fixtures that I can remove or add as need-be. One thing for sure: The light rendition in the studio is excellent, which visitors can immediately see in the vibrancy of my displayed works!

  4. Hi Greg,
    A beautiful design and colours…could a piece like this be placed indoors with background lighting and if so, what particular lighting might you suggest to best highlight it? It looks absolutely great!

    Bill

  5. Thanks Les, I’m quite happy with how Hot N Spicy turned out. I used just about every square inch of the kiln to make it! I had some fun creating The Making Of Hot N Spicy as you may have seen (the little video especially).

    I’ve not decided on a mounting method – I would usually drill holes to suspend a work from wires; but in this case (and it being opalescent – meaning you can’t see through it) I could select from various methods that make it appear floating on a wall, as pictures do. I’ll likely wait until it’s sold and offer mounting in the preference of the customer.

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