The glass quality that I work to achieve is opaque or translucent glass with a surface
resembling polished semi-precious minerals, veined with a spectrum of dark contrasting hues. Therefore, my methodology is based on exploration of the technological potential of glass to realise my formal aims. The Lithyalin colouring
glass technique invented by Friedrich Egermann in 1828 is the principal inspiration that pushed my research further. Consequently, this dichroic phenomenon gave rise
to the critical sense that colour may be perceived integrally as a dimensional constituent of form, and as such requires the use of 'haptic vision', once common to
ancient Egyptian cognition. My aim was to understand what it means to reproduce a mineral entity, considering that not only ingredients and the process of making define the aesthetics of a final outcome. I had to define why it would be important to look at recreating particular coloured glasses, and I therefore sought to define what the idea of ‘resemblance’ is, and if we may subject it to a concept.
My research develops in discourse with my chosen sources (chosen painters, glassmakers and philosophers) through art-historical study, and through practice, by aspiring to extend their technological investigation. My research relied tightly on some philosophical concepts of Gilles Deleuze and in particular those found in The Fold. Leibniz and the Baroque, 1993. I aim to translate his theoretical reasoning into a glass object. I consider the progression of folding comparable to chromatic mineral growth under stress, and additionally, in a limited amount of time, glass material
allows the reconsideration of process similar to that of crystal formation. Hence, through my artistic practice I constantly search for the appropriate practical modes
of gesture in order to align my body with this movement.