This series of photos and short videos documents artist Peter Kovacsy working on a large scale-cast glass sculpture commission for a private collector in Perth, Western Australia.

This project took approximately three and a half months to complete.

Peter gives an artist talk about the creative concept, process and technical aspects of the project.

The plaster moulds filled with lead crystal after the 

glass melting and 18 day annealing process.

This video shows the plater moulds filled with lead crystal positioned on the kiln hearth ready for firing.

To calculate the weigh of lead crystal required to fill each mould Peter loads fine sand to the required level, then weights the sand. 

After the moulds are air dried Peter sits the moulds on a work bench so he can work out the weigh of lead crystal required.

Laying a water proof top coat inside the formwork for will allow the mould to release without sticking.

The completed pattern block sitting inside the formwork that holds the wet paster mould mix.

This large timber pattern forms the major component of the sculpture,  the timber has been sealed with several coats of shellac.

If you study the chip carved texture on the timber pattern below you will notice it is quite fine, the image above shows the new texture after I re carved the surface. 

This sculpture is designed to glow in the early morning sun. It will be mounted onto a low masonry wall that supports glass balustrading surrounding a cantilever third story veranda.

Peter's inspiration for the form and colour of this massive cast glass sculpture comes from the iconic Australian landmark Uluru. 

To produce a cast glass form on this scale, Peter utilises a classic process deployed by pattern makers in the foundry industry he hands crafts a timber pattern block.

I am often asked - what has glass sculpture go to do with fine wood working? Many of my large cast glass pieces require a timber pattern block, for the production of moulds. The skills of a master craftsman are paramount when it comes to fine wood working. Below is an image showing how I use water stones from Japan to sharpen wood carving chisels.

Over the past week I have been re texturing parts of the timber pattern blocks, for the new plaster casting moulds.

Peter making mould casting mix from plater, silica flour, foundry sand and chopped fibreglass strands.