About the Glass

Characterized by scientists as belonging to “the fourth state of matter,” the chemical composition of glass is liquid yet, in many aspects, it behaves as a solid. This category, usually reserved for synthetics, includes glass and plastics. Glass is the oldest synthetic material.

Kiln-formed glass dates back about 4000 years. With the advent of blown glass, about 2000 years ago, which was more suited to mass production, the art and craft of kilnforming was all but forgotten. In recent decades, this ancient art form has reemerged, combining historic and modern technologies.

Typically, the colors that Michele uses will change as they are viewed from different angles and in different lighting conditions. Bubbles trapped in the glass create glistening reflectors. But also, she uses dichroic glass, which has the nearly magical property of reflecting and transmitting opposite colors. It appears to be a muted metallic color when viewed in reflected light, yet will reveal an intense opposite color when light is transmitted through it. Dichroic glass will become yet another color when viewed obliquely. The art glass will change appearance dynamically with its environment.

Hot glass / warm glass

Blown glass is usually formed from molten glass which is manipulated as it cools and becomes more viscous. This is often called “hot glass,” and is heated to temperatures above 2100ºF. Kiln-formed glass, on the other hand, is formed from cold glass which is manipulated as it heats up and becomes less viscous. This fused glass, which is never heated above a tepid 1700ºF, is referred to as “warm glass.”

 

Fusing Process

Many of Michele's works are composed of fragments and ribbons of cut glass. Often thousands of pieces of transparent, iridescent, and dichroic glass are fused together at high temperatures (1500° F -1700° F) until they are fully fused into a single smooth sheet. Afterwards, additional layers of glass elements may be “tack fused” onto the smooth sheets at 1400°F – 1475°F. The tack-fused elements add texture, which enhances the diversity of reflections when seen from different angles, but require an additional firing.

Slumping

After another annealing, these colorful, textured pieces can then be fired once again (a third or fourth time) at 1200°F – 1300°F, which allows gravity and the various ceramic and metal molds and tools of the artist to shape the glass into sculptural elements, which are designed to be viewed dynamically.

 

Each of these firings can take, depending on the size of the piece, several hours to several days. But this time intensive method of creating glass art yields unique results.

 

To see examples of the work, visit the Gallery.