Planéte Sauvage: Moving away from Human-centred work, beyond Anthropocene.

Hey there!
During DesignTO January 18-27, 2019 I will be exhibiting research and designs at co:Lab 906 Queen Street West for Planéte Sauvage: Moving away from Human-centred work, beyond Anthropocene. ‘La Planete Sauvage’ takes place in a speculative future construct where non-human-centered design flourishes. During the opening reception, Thursday, January 17th I will be holding a special intro/demo workshop.

Special: Sculpting with Mycelium & Intro to MIDI Bio-sonification: non-human collaboration (mycelium to midi and beyond!)  Thursday, January 17th 7:30pm start, $25/pp  Reserve your seat soon- space is limited!

Collaborate sonically with the non-human organisms around you.

This special workshop introduces people to the concept of thinking with, living with, and being with other planetary organisms in a world that does not forget how much ecological trouble it is in.[1]

Taking place during the opening reception of Planéte Sauvage: Moving away from Human-centred work, beyond Anthropocene.  ‘La Planete Sauvage’ takes place in a speculative future construct where non-human-centered art & design flourishes.

Registrants receive a sculpted form/bowl and a 5-10 minute* recording of their bio-data translated to MIDI. Workshop introduction begins at 7:30pm, Bio-Sonification recordings start at 8pm. Registrants receive a specified time slot between 8pm-9:15pm. Recordings will go live Saturday, January 19th in the Midnight Mushroom Music Podcast.

Purchase gift certificates in advance! Get that holiday shopping DONE.

January 2019 Glass workshops:
Advance registration is always a good idea when it comes to ordering colour! 😉 



Pate de Verre workshops – Participants learn how to fill a pre-made mould of a small bowl with glass paint, glass powder and fine glass -frit-, the moulds are then fired and participants return to the studio to divest and finish their bowls.  $150/pp Materials included, no experience necessary!  Weekend workshop: January 5th & 6th, Sat: 12-3pm/Sun: 1pm-4pm
 

Students learn the basics of pâte de verre from start to finish while making a thin-walled, kiln formed bowl. Students have access to a broad palette of coloured frit (crushed glass) and samples to help predict and understand fired qualities. Demonstrations include various techniques of working with glass powders against the mold, working with color reactions, as well as how to back-fill a packed mold to support the walls of the piece during firing.   

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Glass Kiln forming workshop Saturday & Sunday, January 12/13/19/20 $380pp+(optional) lab fee  12pm start.
This intensive class introduces fundamental concepts of creating glass objects in the kiln either through lost wax casting, Pate de Verre or a combination of the two. Learn the art of lost wax casting glass, and the pate de verre process.  From paper thin to thicker lost wax models, adding metal inclusions, and more. Students will learn how to make moulds from existing objects using Alginate and/or silicone, as well as model new ones from clay and wax. Hand built moulds and box moulds will be made with various refractory materials. Students will learn different firing and annealing schedules for casting & pate de verre. Hand cold-working without the need of expensive equipment! No experience necessary!  All materials are included. Students are required to bring in their own half-face respirator with particulate filters. Aprons are available for use at the studio, as are all tools and equipment necessary for sculpting, firing and cold working glass, however, students are welcome to bring in their own tools, etc., just make sure your items are marked. kiln casting workshop
 Size max 18cm in any direction.
Day 1: Replication. Students will make silicone or alginate moulds from items they wish to cast in glass. Examples: plastic/vinyl toy/action figure, anatomical models or small branch, unusual vegetable/fruit, seed pod. Items could also be modelled from Sculpey clay and fired ahead of attending the workshop. Glass options are discussed. While the silicone moulds cure, students build a small bowl form out of clay (add texture/details) and from there build a refractory mould, once set-up the clay is removed and students are shown how to apply glass to the mould a la Pate de Verre. Colour samples are also made on this day.
Day 2: Wax pouring and hand-built moulds. Students pour multiple waxes from their silicone moulds, refine their wax models (add or subtract). Models are then weighed and various glass options are revisited. Once glass choice is determined pouring gates are added to models and then a silica based refractory mould is built around the wax models. Once moulds set up the wax is then steamed out. Meanwhile, glass is weighed, and cleaned. -Items are cast & annealed over the week.
Day 3: De-mould kiln castings/cold working Students remove their kiln cast objects and start the cold working process. Various methods and equipment are discussed and demonstrated.
Day 4: Finish cleaning kiln cast objects.
What’s included:1.5 kg of glass, silicone/alginate materials necessary for mould building, Refractory materials, Wax, Nitrile glove, sn95 Particulate respirator, Cold-working consumables

Lab fee (optional): $100 covers Gaffer crystal colours*, Bullseye colours: sheet, billet or coarse frit, metals, & mould kits. Students are emailed concerning glass colour choice, otherwise everyone works with clear glass and coloured frit.

Glass: we will be working with Bullseye glass (clear).
For the Pate de Verre project participants work with clear fine frit, and may add colour through painting onto the mould surface using glass Powders. The studio has a basic colour palette of Bullseye Glass Powders in red, orange, yellow, greens, and blues along with black and white.
For the kiln casting part of the course participants are working with Bullseye glass Crystal Clear Kilncasting Cullet. Or Gaffer crystal (please see below).
Projects: we will complete several projects
1- colour samples for cast items.
Working with Alginate or Hydrogel
1- Pate de Verre- thin walled ‘casting’, open-face mould.
1- Solid kiln cast form, discuss refractory materials, mother moulds, face coats. Venting/gating/sprueing up your wax model.
Note:
If you want to work with coloured Bullseye Glass Frits (fine, medium, course, etc for Pate de Verre and/or casting), Billets (casting only) or Gaffer Crystal (Not compatible with Bullseye, only used in solid casting part of course))> that is extra (the Lab fee) and would need to be ordered ahead of the class. This is not mandatory at all, though.
That said, if you are unfamiliar with Bullseye and/or Gaffer glass you of course would ask:  …what’s the difference, why would I choose to work with one over the other?
Bullseye glass is made from Soda Lime, and depending on colour various oxides, metals, pigments are added. Gaffer is created similarly however it has a low viscosity at normal casting temperatures and has virtually no tendency to devitrify -at all- at top casting temperatures, nor on its descent in temperature down to the annealing range. Furthermore, its very low viscosity, 
and low surface tension at 780-900°C. (1426-1650°F), leads to very good surface definition. This makes it especially suitable for jewelry scale pieces, as well as large work.
 
Bullseye Glass is offered in various forms: Sheet, billet/cullet, Frit, Rod, stringer, Powder.
Gaffer casting crystal is offered in: Billet, chunky ‘frit’.
 
There will be items on display at the studio made from both Bullseye and Gaffer. 
 Links to view glass colours (Frit, Billet), and Gaffer crystal.