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Obsidian III, Grey, Bronze & Clear Glass Wall Mounted Artwork by Wayne Charmer

$6,643.85
£4,750
€5,672.54
CA$9,088.65
A$10,170.46
CHF 5,310.53
MX$125,035.18
NOK 66,998.52
SEK 63,045.27
DKK 42,321.48
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About the Item

Obsidian III is a unique grey, bronze & clear glass wall-mounted artwork by the British artist Wayne Charmer. Taken inspiration from the moment that a mass of rock is literally cracked open, to reveal a carpet of sparkling gems, Charmer presents his crystals as a highly textured painting, formed from shards of glass. Creating these fragments by hand and grading them in different sizes, allows Charmer to build up the texture in a purposeful and harmonious way, yet keeping the appearance as if each crystal has grown there. The artwork is bonded to a black piano lacquered backboard which creates a breathtaking drop shadow effect. Practical and beautiful in equal measure. For Wayne Charmer, the fascination of glass is to exploit it’s translucent and reflective qualities. Inspired by nature, his signature techniques for his sculptural works are constructed from numerous handcut glass shards which he exploits to great effect. Whilst heated for several days in the kiln, the sharp edges are softened resulting in layers of melted glass resembling petals and other organic forms. Immediately attracted to working with glass during his time at university, Charmer was excited by the complex and challenging processes of this material. During his creative career, he has developed a comprehensive technical knowledge which he is constantly striving to expand on. He has exhibited extensively throughout the UK, has worked on numerous private commissions and has work within the private collections of the Turner Museum of Glass. In his own words: ‘I immediately became attracted to working with glass during my time at university, I was drawn to the complex and challenging process of manipulating a material from a solid form to become fluid whilst in the kiln. I aim to capture this fluidity in the final cooling process presenting an organic characteristic to my work. The glass undergoes many transformations whilst firing and the not knowing aspect is part of the attraction.’

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