Shawn Athari is a world renown glass artist working and living in Los Angeles.
This is without a doubt the most exquisite of glass art pieces I have ever viewed or had the privilege to offer on the web site. This piece is a marvel in detail, color and brilliant workmanship.
The pieces is 28 inches in height and 8 inches wide. It is mounted in a 32.5 inches tall and 15 inches wide plexiglas case. The art is attached to the cloth/wood base and is ready to be wall mounted with wiring already attached.
The piece is signed as shown in the photograph and also signed and titled on the backside.
The following is a description of the process that Shawn employs: " Once the pattern is made, I cut colored sheet glass and lay out the pieces according to the pattern. Now is the next most creative part. This is when I layer the various handmade glass pieces over the base colors. One of the more unique steps I take is to do glass pouring. I combine various shades of colored glass, some with specific menu ingredients, and combine them in a ceramic crucible and melt to 2300 degrees. At this point I pour the glass and specific and random shapes, as illustrated above. When cooled, these pieces are used asesign elements and/or as “icing on the cake.” I also use propane and a torch to melt glass into desired shapes. These are used as design elements also. Additionally, I make canework similar to making blown glass. I melt strips of glass and then twist them on each other, pulling them to create a cane of two or more colors of glass. These are also used as a top layer of coloring on the glass sculpture.
When all the layers of colored glass are in place, I melt them together in a kiln at temperatures up to 1600 degrees. Afterward I do the detail work with enamel, gold or sandblasting. The last and most challenging step is to slump or shape the piece. To do this, the glass is draped over a mold made by me and returned to the kiln and heated up to 1300 degrees so the glass softens and takes on the shape of the mold. This is a very stressful time since when the glass bends an internal stress is created and sometimes the glass decides to break rather than bend!! When that happens, the glass is beyond repair. Any repair done after this happens results in a sculpture that is less than my best and is destroyed.
There are a few other detail techniques I use in some of my pieces. I mix glass in a powdered form with a painting medium and use an outline brush carefully applying the enamel with a brush to create outlining and detailing on my pieces. This is especially important on my Totem Poles or those sculptures needing accents, but where pieces of glass would be inappropriately heavy. This is similar to how a painter would use shading in their work. I also do some sandblasting on my pieces where I might want a rough texture complementing an adjacent segment that has a high luster.
The piece is titled "Spirit Post #H" 1996. I interpret it to be of African based design.