'Edmond Byrne’s new glass vessels carry marks that reflect the moment of their making and their yearning for the past. Here is a balance of the ancient and the present; the remembered and the contemporary. Surfaces are encrusted as if with the leaching silica of an ancient place, or the patina of a Roman bowl in a museum vitrine. There are striations and tensions across some of these surfaces, too, as if resolving geological or watery forces. They have an empathy with nature as well as time. Chance and order both have a role to play in the working of the glass and the scrupulous setting out of the final ‘still-life’ tableaux.’
Professor Simon Olding, Director of Crafts Study Centre, 2014.
I’m interested in how our minds interpret emotions - a combination of culture and memory that converge from different areas of the mind. Through the exploration of colour, texture and form, I make glass vessels that induce an emotional response in each viewer. In a way the vessels are manifestations of emotions.
I do a lot of drawing. My visual inspiration comes through interpreting the marks, gestures and energy of my drawings into glass. I’m intrigued by objects that have a resonance from the past. I add patina and cracks to the glass surface to recreate the weathering of ancient Roman glass. Subconsciously this places my vessels in the past becoming artifacts of the mind.
I blow glass into moulds to induce tactile surfaces. The moulds are constructed from a variety of materials such as clay, fabrics and sand and can only be used once. The activity of making the moulds is an equally important part of the process.
The moulds are inspired by drawings I make which inform the texture. I use subtle colours in my work. This is achieved by blowing opaque colours very thinly so their hues change, and they become semi-transparent. Much of my work is dipped in a Chin Clay/water solution to create crazing and a pale ‘patina’.