Laminated Art Glass and How We Create It
Our Process With Glass liquidoranges STUDIO, LLC
An Art Studio Creating Architectural Art Glass and Original Works
It starts here.
I embrace machines making art, controlled by the artist, painting with electronic paint and brushes, creating works that explore the digital world while offering beautiful visions that encourage us to pause and explore. These works evolve from the blank screen through my hand, controlling the image in very precise ways. I am challenged by the rigors of geometry, against the randomness of order, where I strive to achieve balance between the two, through color, texture, and composition. I present my works expertly printed onto archival papers, and transitioning into glass.
The process by which my works come to be in glass can be illustrated below.
I embrace machines making art, controlled by the artist, painting with electronic paint and brushes, creating works that explore the digital world while offering beautiful visions that encourage us to pause and explore. These works evolve from the blank screen through my hand, controlling the image in very precise ways. I am challenged by the rigors of geometry, against the randomness of order, where I strive to achieve balance between the two, through color, texture, and composition. I present my works expertly printed onto archival papers, and transitioning into glass.
The process by which my works come to be in glass can be illustrated below.
This work is titled 073001. It was begun July 30, 2001, and was inspired by discussions with the famed architect and illustrator Paul Stevenson Oles, FAIA. Steve Oles is a mentor of mine and inspired me to take my electronic painting and make something of it beyond art. I did several works that year with this one receiving the most interest from people.
The original production of this work was a single printing on museum paper by a gallery in Ohio, run by artists, who did a fantastic job at precisely reproducing the colors. The work was framed and made a few appearances, at the liquidoranges Open House in 2009 at the Boston Design Center, and most recently as part of a solo exhibit of my works at the John Hancock Building, Copley Place, in Boston, Massachusetts, April 2014. (Photo courtesy of Paul Lyden)
In 2018, this work took on a new life in glass through the outreach of a client who found liquidoranges STUDIO on line. 073001 was not on display but through inquiry it was shown to them as a possibility for permanent integration into their new home. The digital file was once again brought to life and transmitted by RGB laser to a photographic film, as a true, continuous tone, 4000 dpi representation of the original. The film was laminated with low-iron glass over a pure white PVB behind the artwork. Click HERE to see the shop drawing. (Photo courtesy of the Client)
Complexity and Unity.
The two qualities all art must embrace. For complexity without unity is chaos, while unity without complexity is dull and stultifying.
The two best courses that I took in graduate school were taught at Carpenter Center for the Visual Arts on art and visual perception by Rudolph Arnheim from whom I learned much about the intricate balancing of these two precepts in architectural composition. And the appreciation of them in all art. Your piece for the house embodies both complexity and unity in a very satisfying way. Thank you.
The two qualities all art must embrace. For complexity without unity is chaos, while unity without complexity is dull and stultifying.
The two best courses that I took in graduate school were taught at Carpenter Center for the Visual Arts on art and visual perception by Rudolph Arnheim from whom I learned much about the intricate balancing of these two precepts in architectural composition. And the appreciation of them in all art. Your piece for the house embodies both complexity and unity in a very satisfying way. Thank you.
B. Thomson, March 2018