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“Flameworking” is the process of sculpting glass in
the 4000°F flame of an oxygen-propane torch. The
Italian-made glass Elizabeth most often uses has a
“working range” between 1,000°F and 1,700°F. In the
upper part of that range, the glass can become as
liquid as honey and must be constantly rotated to
prevent it from dripping. Toward the lower end of
the working range, the glass begins to solidify and
develops plastic qualities much like clay or soft wax.
The sculpture in progress must be moved back and
forth in the flame to maintain it in that critical
“plastic” temperature range. If the piece is allowed
to get too hot, surface details will be melted away
and the sculpture spoiled. If it is heated unevenly
or cools too much, the sculpture will shatter apart,
sending near-molten bits of glass in all directions.
Each object she makes is hand sculpted by building up the
glass bit by bit; therefore no two are ever exactly alike.
Variations in the surface color are achieved by carefully controlled
heating and cooling, by mixing several glass colors
together, or by applying vitreous enamel, which is
finely powdered glass. When enamel is used, it is
completely fused into the object and will not rub, flake
or chip off. Any stems, such as those on cherries, are
embedded into the glass and are made of solid copper
wire that is unfinished or has an oxidized patina.
No paint is applied to any of the objects.
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