Page 38 - homestyle New Zealand (February - March 2020)
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PEOPLE ——  Artist profile
























                                                                                                         you remove the initial piece you’re
                                                                                                         casting and replace it with wax. You
                                                                                                         can then make replicas with the wax.
                                                                                                           To make the glass pieces, I use a
                                                                                                         lost-wax casting technique, fettling
                                                                                                         each wax model, filling holes and
                                                                                                         removing any imperfections from the
                                                                                                         cast. Next, I make another mould of
                                                                                                         plaster and silica around the wax,
                                                                                                         then steam out the wax. I’m left with a
                                                                                                         positive copy of the original wax model,
                                                                                                         which is dried and placed in the kiln,
                                                                                                         where a pot of solid glass sits above the
                                                                                                         opening of the mould. The glass melts
                                                                                                         into the mould, then slowly cools down
                                                                                                         over a couple of days. I then remove the
                                                                                                         glass-filled moulds and cut through the
                                                                                                         built-up layers to reveal the cast piece.
                                                                                                         The next stages involve cold-working,
                                                                                                         polishing and belt-sanding each object,
                                                                                                         then signing them and cleaning them up.

                                                                                                         What informs the hues you use? I was
                                                                                                         set on having a limited colour range
                                                                                                         and wanted to use colours you wouldn’t
                                                                                                         expect of fruit. I also wanted the colours
                                                                                                         to be both striking individually and
                                                                                                         complementary when mixed. I find
                                                                                                         some colours hold or reflect light better
                                                                                                         than others, so I chose them with this
                                                                                                         in mind too.

                                                                                                         Where do you create? I’d been making
                                                                                                         my fruit at work in Avondale in West
                                                                                                         Auckland but I recently got a kiln
                                                                                                         and set it up in my own studio nearby.
                                                                                                         It isn’t much at the moment; it’s a
                                                                                                         dungeon-like space beneath my friend’s
                                                                                                         furniture company, Arkade, that’s
                                                                                                         functional but also a work in progress.
                                                                                                         I plan to get it set up nicely, though,
                                                                                                         so people want to visit and hang out.


                                                                                                         Is there anything on the cards that
                                                                                                         you’re particularly excited about for
                                                                                                         2020? I’ve applied for a residency,
                                                                                                         so fingers crossed! I’m also planning
                                                                                                         to make another glass series. It probably
                                                                                                         won’t be fruit-related and I want to
                                                                                                         try incorporating a new material. I’m
                                                                                                         not in love with glass but I find it so
             READY, STEADY… When asked what day-to-day rituals she undertakes to get in the mood for her studio   intriguing and am really enjoying
             practice, Devyn says, “Most days start with a morning wake-up snuggle from my cat Fern — and my boyfriend,
             I guess! — and a coffee; I’m loving a long black with cream at the moment. They’re my most consistent and    working with it.
             key morning starters.”                                                                      devonmadeglass.com


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