225

Nina Casson McGarva

(British, b. 1990)

Nina Casson McGarva
(British, b. 1990)

"The Way it Twists"

kiln-cast and sculpted glass
h. 6-1/2", w. 15-1/2", d. 13-1/4"

Provenance: Vessel Gallery, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Notes: My inspiration comes from cycles of nature that I associate with the glass-making process because to me the material is at its most alive when it's hot and being transformed. The end result is solid and doesn't move any longer, it is at the fragile time before disintegration and maintains a dynamic form and rich structures such as dry leaves, feathers or sea shells.
Nina Casson McGarva
from artist's website

McGarva received her training in glass-blowing at the Ecole Nationale du Verre in Yzeure, France. She later attended the Royal Danish Academy of Fine Arts, where she studied casting, fusing and etching. McGarva prefers the somewhat capricious technique of kiln-casting where the form is heated and then manually manipulated while still pliable by pulling, bending and stretching. The form is then returned to the kiln. As McGarva acknowledges, it is not always possible to anticipate the results once the piece is reheated and each glass sculpture is unique. Once cooled, the glass is often hand engraved.

kiln-cast and sculpted glass
h. 6-1/2", w. 15-1/2", d. 13-1/4"

  • Provenance: Vessel Gallery, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.
  • Notes: My inspiration comes from cycles of nature that I associate with the glass-making process because to me the material is at its most alive when it's hot and being transformed. The end result is solid and doesn't move any longer, it is at the fragile time before disintegration and maintains a dynamic form and rich structures such as dry leaves, feathers or sea shells.
    Nina Casson McGarva
    from artist's website

    McGarva received her training in glass-blowing at the Ecole Nationale du Verre in Yzeure, France. She later attended the Royal Danish Academy of Fine Arts, where she studied casting, fusing and etching. McGarva prefers the somewhat capricious technique of kiln-casting where the form is heated and then manually manipulated while still pliable by pulling, bending and stretching. The form is then returned to the kiln. As McGarva acknowledges, it is not always possible to anticipate the results once the piece is reheated and each glass sculpture is unique. Once cooled, the glass is often hand engraved.
  • Condition: **No visible losses or repairs. Scattered pinprick-sized nicks that are possibly innate to the artist's process.

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