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The Artwork Thread
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Originally posted by Blobcat View PostMy stained glass window of Brighton's West Pier is finally complete!
It took way too bloody long and I was an idiot for using tiny cuts for my first piece but I do feel it worked out well in the end.
It's still at the workshop as we are in the process of moving to a new flat once things are good with the landlord and our new contract so I don't want to risk it getting damaged. Currently sitting in the window of the studio. Very pleased and so glad I can start something else!
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Originally posted by importaku View PostNicely done, working with glass is not an easy thing.
Glad its over but very pleased, just in real life dont look too close as it looks a bit wank in places (so many small bits jumped out), its almost certainly not water tight!Last edited by Blobcat; 04-03-2019, 20:35.
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Originally posted by Blobcat View PostTell me about it, I'm cutting the same kind of glass I used for the sun last week and my fingers are full of paper cut/ like deep cuts, that glass is brutal. I hated every second cutting the red as the glass shattered and splintered everywhere, the orange was almost as bad and what makes it worse, orange and red are the most expensive as well as pink so I went through 3x as much orange than I needed as it was so warped it kept snapping.
Glad its over but pleased, just in real life font look too close as it looks a bit wank in places (so many small bits jumped out), its almost certainly not water tight!
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Finished my second glass project.
Not quite finished as I am needing some driftwood to replace the dowel and play around with the spacing/ chain but I wanted it up and about before we moved house and I was afraid of losing some pieces.
Also hope to have it in a window to show off the purple darkside of the moon and maybe add the odd bead or something but the biggest task is over.
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I've started appreciating Taoist nature paintings. They're always very simple, often even crude, but capture something that draws me to them.
Another aspect of Taoist paintings I like is that when a piece is named 'The Maser in the Bamboo Grove" or "the Master on the mountain" the master is usually tucked away somewhere, almost out of sight, for it is the environment that takes centre stage. It flies in the face of the West's humancentric style.
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