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| Green and Turquoise Knit Necklace | | By: | Sol Mesz |
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| Studio: | Sillice |
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| | Specifics: | Fused glass with hand made colors | | | This alluring necklace flows around your neck with harmony and grace. Elegant, yet fanciful, this striking piece was created using traditional knitting techniques combined with the artist's own handmade glass beads. Many strands are combined to achieve a perfect balance, volume and body. The eclectic, handmade glass beads of pink and purple tones are knit together using fine silver. All that see it on you will be admiring your excellent taste! When she has had enough fun in the studio firing her glass,will sit and take out her knitting supplies and weave a magic strand of her beads together creating this enchanting necklace.Necklace is 16 inches long.
Time honored, traditional methods are inherent in Sol Mesz works of art. She produces her own colors for the glass, using the same techniques and processes that were used five hundred years ago and are still preserved in cathedrals. No commercially available colored glass is used. Choosing to make her own colors provides her with greater freedom to experiment and use materials in innovative ways. Her process is also reminiscent of the early glass artists when the craft of stained glass included the actual staining technique and process as well as the design work. Much of her glass is recycled. Since glass does not lose its quality when reprocessed, she can turn transparent sheets of glass into unique pieces of art which are also environmentally friendly. When making colors for glass I feel like going back in time, when art and technique were integral. It is inspiring to revive old methods and ancient practices, while at the same time applying them to contemporary designs. It is like paying tribute to the past while looking into the future. | | | | Medium: Fused glass with hand made colors
Dimensions: 16 inches
Weight: 10 oz
| | | | Glass is strong, durable and easy to maintain. Clean with soap and water; avoid abrasive materials to prevent scratching the surface. Wipe silver parts with a soft flannel after wearing to remove oils and salts. If tarnished, clean with soap and water, or with toothpaste. Dry with a soft, clean, non-abrasive cloth and rub lengthwise, as circular motion may cause scratches. Store flat, to avoid kinking the necklace. Cleaners, make-up, sun tanning lotion, salt water, bleach, alcohol, may cause damage. For this reason, put silver jewelry on after applying cosmetics, hair spray or perfumes. Do not wear your jewelry to bed, swimming or in the shower. | |
| | | About the Artist |
| Sol Mesz | | | | | Sillice | | Background: | I was trained by renowned Argentine glass and vitraux artist Carlos Herzberg in different glass working techniques, including pāte de verre, vitraux, slumped and fused glass, mold making and sand casting.An outstanding aspect of my work is that I make my own colors for glass, using the same techniques and processes that were used five hundred years ago and that are still preserved in cathedrals. Today, these techniques are almost lost and I feel proud to be able to honor such old practices.
At the same time, making my own colors for glass has allowed me to achieve a unique and infinite palette of textures and colors. As a result, I do not use any industrially colored glass, and I have greater freedom to experiment and use materials in innovative ways. One of them is my ability to recycle glass. Since glass does not lose its quality when reprocessed, I can turn transparent sheets of glass into unique pieces of art which are also environmentally friendly. | | | | Artist Statement: | | "Painting alternately in the front and the back of a piece of glass to achieve different luminous effects has been done for many centuries, and artists would formulate their stains according to the effect sought. With the advent of mass production they specialized in either making the pigments or designing the work; and many artists gradually lost contact with an important part of their craft. As a result, some of the ancient practices were lost. Among them, the art and science of making glass stains. I decorate my pieces using colors for glass that I make myself, from naturally occurring substances, just like it was done centuries ago. As a result, I do not use any commercially available colored glass. When making colors for glass I feel like going back in time, when art and technique were integral. It is inspiring to revive old methods and ancient practices, while at the same time applying them to contemporary designs. It is like paying tribute to the past while looking into the future.
" | | See more of their works: Sol Mesz | | | | Technique: | | Each piece begins with a design that is sketched in a notebook. I then take out a sheet of glass, mark it to the size I need and cut it. I then decide the color combination by using samples of the colors I have made. I need to use these samples, which have been already fired, because most of the colors in their raw state have a grayish color, even the deepest blue will look gray before it is fired. The colors will reveal its true personality during the firing process.When the piece is dry, it goes to the kiln (which I sometimes call the oven) and it cooks there for 12 hours, usually overnight. Glass is very sensitive to temperature, so it has to heat up slowly until it reaches its critical temperature point, called strain release or break point. This will make sure that all glass is heated evenly. Past this point, the temperature can climb up faster, until the peak temperature is reached, which is around 1500 F. After that, the kiln will start the cooling down process. |
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