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Vitrigraph: Gravity and Hot Glass

August 19, 2009 by Cathi Milligan

TubularGlass1Have you ever seen vitrigraph glass? Hot about a pot melt? Similar techniques for handling melted glass. Basically glass is placed in a terra cotta flower pot ( german made so it can handle high temperatures) that has a hole in the bottom, placed in a kiln, raised up to allow the glass to flow through the hole once it reaches the proper temperature. With a pot melt there’s a mold or kiln shelf under the raised pot to catch the glass as it flows out. For vitrigraph the kiln must be raised up rather high to allow the glass to almost drip out of the kiln. The kiln used for this must have no bottom. It’s placed on kiln shelves that have been separated enough for the glass to pass by. I’ve seen the kilns raised up with a forklift. Also on a scaffolding unit. One of my glass buddies, Larry Cunningham has come up with a unit that attaches to the wall so you can almost do this at home. HIs unit is the Turbo Lift.

leigh-larry

I’ve been fortunate enough to participate with Larry and my other glass buddy, Leigh Adams in a class we like to call “Extreme Vitrigraph”. When Leigh and Larr do it it’s called “Dancing with Glass’, when I’m there it’s Extreme…we add my torches to the mix to embellish the pieces that are pulled from the kiln. Check out this web site, www.glass-fusing-made-easy.com to get a bit more insight in the process. I’ll talk with Larry in a future blog to have him explain his vitirgraph kiln. In the meantime enjoy the dance with glass. Check it out with this video of the Turbo Lift, his vitrigraph kiln.

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Have you read?

Steven Rodrig: Breathing New Life into E-Waste

Steven Rodrig is a Cuban-born, New Jersey-based artist known for transforming discarded electronic components into stunning sculptures. His work, often inspired by nature, showcases the potential of upcycled materials in art.

From Structural Mechanics to Artistic Expression

Born in Havana in 1963 and immigrating to the U.S. in 1966, Rodrig’s background is rooted in structural mechanics rather than formal art training. His exposure to printed circuit boards (PCBs) in his professional life sparked a fascination with their intricate designs, leading him to repurpose them into artistic creations.

Rodrig’s sculptures often depict organic forms—sea turtles, dragonflies, hummingbirds—crafted meticulously from PCBs and other electronic waste. He begins with detailed sketches, then sources specific components, sometimes waiting weeks to find the right pieces. His work explores the intersection of technology and nature, prompting reflections on the rapid evolution of electronics and its environmental impact.

One of Rodrig’s standout pieces is “Sea Turtle Searching for Deep Data,” a sculpture that exemplifies his ability to merge technological materials with natural forms. Another intriguing work, “Attempt At Transferring Data Into The Organic World V.9,” involves embedding PCBs into egg contents, symbolizing the blend of organic and manmade data.

Rodrig’s art has been featured in various exhibitions and publications, highlighting his innovative approach to sustainability and design. His sculptures serve as a commentary on consumerism and the lifecycle of technology, encouraging viewers to reconsider the value of discarded materials.

Through his unique fusion of art and environmental consciousness, Steven Rodrig invites us to see the beauty in the overlooked and to reflect on our relationship with technology and waste.

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