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Miriam Di Fiore  Available Work

Dimensional Fused Glass Technique: Painting WITH Glass Frits&Wire                   

her technique is illustrated below through the making of the Cofanetto Estivo Piece


The starting point

Glass Panel
multiple fused

old box Cocoons installed

panel Incorporated in the box

Board with every piece: photo, sketch & Poem

The masterpiece

The Dimensional Fused Glass Technique is derived from the process of Light Painting Technique, developed by Narciso Quagliata in 1993. He used frits (finely ground glass) & glass wire for Abstract Work, Human Figures and Nature Themes. After learning from Mr. Quagliata, I decided to apply the same method for Landscapes using glass as if it was watercolors. After numerous experiments, I found out that the basic technique was not enough to achieve the result I wanted. I began then working on sequential kiln fusing.

I adhere to the sequence below, part of which is illustrated in my Cofanetto piece above:

I choose the setting, always a real place to which I am emotionally attached. I take photographs of the site in different seasons, under a variety of lights and views and with different frames of mind.

I use Bullseye Glass Frits, from an American Co. based in Oregon. The Bullseye glass has a wide range of colors compatible with each other. I use the frits to create the smudge part of a landscape. For the linear portion of (tree trunks and branches) I make my own glass wires by melting in a little pot the frits and shape with a soft flame.

I start on a glass sheet to create the background of the landscape, using frits and wires. When I finish with the
first layer, I place the glass sheet in the furnace at a temperature of 810C.

                                  I repeat the procedure over and over  till the piece acquires the right c
DiFiorebox3.jpg (31327 bytes)olor  intensity.
   For instance,  a two  millimeter green color spot does not show its real color until
   it reaches an optimal thickness.

    I then heat the piece in the furnace several times in order to give it optical depth.
    This means that I add colorless glass of different thickness by starting from in the area   
    that must have the furthest perspective, and gradually use bigger glass sheets to get to
    the depth I want to achieve. In my most recent work I usually melt a thick (6mm)  sheet of
    glass over the entire surface of the piece.

Each of my pieces is heated in the furnace at least seven times. If the images
    have a lot of details, 10 or more fusions are needed. With each heating, the process
    becomes more delicate. With the increasing glass thickness, the risk for breakage increases. In addition to the difficulty in reheating, the cooling off must be strictly controlled to avoid permanent tensions in the glass. The whole process requires a minimum of 4 weeks per piece.

Revised July 2003