A few years ago I discovered glass as a material for my artworks. I was particularly drawn to its molten, fluid forms and to the way light interacts with the material through refraction and distortion. The glass-fusing technique, which was new to me, opened up a whole new field of possibilities and continues to inspire me through experimentation and discovery.
The layers of glass, fused together in a kiln at around 800°C, create unexpected results. Over time, through experience, I have gradually learned to gain more control over these processes. I cut 3 mm sheets of glass into shape using a glass cutter and then layer or partially overlap them, knowing that at around 800°C, glass will naturally flow towards a thickness of 6 mm when given the opportunity.
Another fascinating phenomenon is the way certain specially formulated glass colours transform in the kiln. Transparent glass can turn bright yellow, while yellow can transform into vivid red.
Over time, I have developed my own visual language. I like to emphasise the fluidity of the forms by leaving space around them, rather than working against a flat, rectangular glass background.
I often use two firings: the first is a full fuse, in which the main form is completely fused together, followed by a tack fuse at around 700°C, during which I add smaller details in relief onto the underlying form.
I look for intriguing contrasts and combinations, subtle colour relationships and elegant organic forms. My initial idea was to create glass organs. From this starting point, an ever-growing range of surprising designs and artworks has emerged.
‘Glas’ – Nicole Spit, hard cover book, 20 x 20cm, 26 pages 2026. An impression of my kiln formed glass works.