|
Traditionally sandcasting has been used in the mental industry, and was a technical innovation when Bertil Vallien introduced the method at the Åfors glassworks. Today, as one follows the work in the "hot-spot" one witnesses a high degree of awareness and commitment on the part of the entire work team.
The process begins well in advance of the actual casting; firstly, Bertil Vallien prepares the contents of his sculptures, choosing among his existing stock or planning for new ideas. He lays out all his tools, templates and seals. With these he creates the sculpture negatively in the sand. (i.e they are pressed into the sand and their imprints will leave indentations on the glass when
cooled).
| The dampened, red sand is placed in a metal box and the formwork commences. Over the years the basic shape of his sculptures has become stricter, simpler and he now prefers to use a wooden template (of uniform shape); wich he can plough back and forth in the sand to alter the form at will, making it wider deeper or longer; parts of the cavity can also be made sharper or
rounder.
Thus he creates a hollow shape wich will define the size of the sculpture and its definitive form , making sure that the sand walls are firm enough to work on. Some of the sand will stick to the glass surface, giving it a reddish tone. Other surface colours are obtained by powdering the mould with oxides (Bertil Vallien actually sifts these through a tea-strainer directly into the mould); this will then produce a glaze effect on the surface of the glass. Irregularities in the surface of the glass sculpture are made by the imprint of seals and other objects on the walls of the sand
mould.
|
|
|
For making negative spaces the prepared sand-figures are now used. At this stage other effects suchas sheet metal and glass threads may also be inserted into the sand-mould.
Now, brimming with its assorted cargo, the mould is borne like a ship into the "hot-shop", followed by the team of glassworkers; here one is assailed by the blast of heat from the roaring furnaces, and the blinding intensity of the molten glass in the crucibles.
In all, it is a dramatic change of scenario from the previous neutrality of the cool, grey workshop.
|
 |
The mould is laid on the casting-table and the many details to be used by Bertil Vallien during casting are placed beside it; his assistants stand ready - the
casters, in protective clothing, with their long-handled ladles - the process can
begin. The glowing lead crystal in the crucible is at the right
temperature, and the mould has not yet dried out. The ladles are filled with the glowing viscous
mass; its heat is overwhelming as it pours into the mould and everyone flinches a
little; but it takes only a short while for Bertil to execute his work with the prepared forms.
The pre-warmed details: metal plates, glass figures and coloured forms are all delicately inserted in the glowing mass. New ladlefuls of glass are poured over this and the heat intensified. The rhythm and tempo is in a state of near -ecstasy. Suddenly, activity ceases, it is over - once more it is calm and still, save for the heat and the throbbing of the furnaces. The sandcasting is complete; nothing can affect the result now, for whatever was not done at the moment of casting must remain undone.
Text: Bertil Vallien – Glas äter ljus. 1999
Photo: Artlieb.com, Hans Bengtsson, Anders Qvarnström (s. 149)
Go to current auctions! 
|
Good Prices
