Marc Segura Boutté
I have always been a hands-on type of person. In 1977, I had my first exposure to blown glass. My curiosity about blown glass finally got the best of me. In 1986, I took a hot glass class at LSU in Baton Rouge, Louisiana. Since that class, I have never looked back.
Hot glass has taken me to different parts of the U.S. and Europe. The possibilities of glass are endless. This reality fuels my desire to make glass for the rest of my life.
Marc Boutté's glass is reminiscent of the Tiffany blown glass objects. The decoration of Marc's glass pieces is an involved and skilled process that begins even before the glass is blown.
A bit of concentrated colored glass is placed on the end of a blowpipe. Clear glass is gathered over this bit of colored glass and the hue of the object is determined by this color.
Rolling the glass in silver chloride powder and burning the salt off leaves on the glass a thin layer of silver that will form the background for the pattern.
A thread of copper red glass is trailed onto the silver, then reheated and feathered, pulled, manipulated, or twisted to create the desired final pattern.
Once the pattern is established, the glass is finally blown into its intended shape.
Once blown out, the glass is transferred to a solid punty rod where the top of the piece is shaped and finished by a series of re-heats.
These glass objects can have a mirror-like finish. The mirror-like surface is achieved by placing the piece into the carbon rich flame of the glory hole (re-heating furnace), thus reducing the silver.
The piece is further subjected to the carbon-rich flame of a hand torch and the resulting reduction reaction finishes the mirror-like surface of a work of art that will last for generations.
Hot glass has taken me to different parts of the U.S. and Europe. The possibilities of glass are endless. This reality fuels my desire to make glass for the rest of my life.
Marc Boutté's glass is reminiscent of the Tiffany blown glass objects. The decoration of Marc's glass pieces is an involved and skilled process that begins even before the glass is blown.
A bit of concentrated colored glass is placed on the end of a blowpipe. Clear glass is gathered over this bit of colored glass and the hue of the object is determined by this color.
Rolling the glass in silver chloride powder and burning the salt off leaves on the glass a thin layer of silver that will form the background for the pattern.
A thread of copper red glass is trailed onto the silver, then reheated and feathered, pulled, manipulated, or twisted to create the desired final pattern.
Once the pattern is established, the glass is finally blown into its intended shape.
Once blown out, the glass is transferred to a solid punty rod where the top of the piece is shaped and finished by a series of re-heats.
These glass objects can have a mirror-like finish. The mirror-like surface is achieved by placing the piece into the carbon rich flame of the glory hole (re-heating furnace), thus reducing the silver.
The piece is further subjected to the carbon-rich flame of a hand torch and the resulting reduction reaction finishes the mirror-like surface of a work of art that will last for generations.
