Ann Cavanaugh

The materials I use is mainly glass in various forms - powdered, frit ( fine to large chunks of

glass),stingers, rods and flat sheets. I build a tray of glass so the sides can hold the glass that I

lay in to create the depth you see in my work. I generally start at the back and work forward in a

landscape. Layers of clear frit push the forms beneath it back helping to achieve depth. I have

learned to use some glass on edge to give the effect of water or rocks. I am also interested in

including metal in the glass. Copper works well as it is somewhat compatible to the heating

process needed to fuse the glass together.

I try to fuse a piece as few times as possible. This prevents the glass from changing chemical

composition and gives a looser more impressionistic feel to my pieces. If the piece does not

please me I can add glass and fuse again. Some pieces are fused over 7 times, adding layers of

clear and color each time.

The glass used must be compatible in COE (coefficient of expansion) or it will fail in the fusing

process and crack. Glass needs to go up to around 1500 degrees to be fully fused. At this

temperature it becomes liquid and flows. The kiln is scheduled in a ramp/hold program that is

determined by the thickness, size and result wanted. Most of my work is done with a program that

takes about 14 hours to get it up to 1500 degrees and the cooled down to 700 degrees. It takes

about 12 more hours to get to room temperature to the glass can be taken out of the kiln and

finished.

The flat work is laid on a kiln shelf which results in the top being shiny and the back mat. If I

determine that the front is to be mat then the work is turned over for the final firing.

After a piece is done in the firing process I cold work it with saws, grinders, lap wheels or lathes

to finish it. This allows you to look into the edges and see the layers and flow of the glass. I can

also add various textures and shine to the piece.