‘Izabela Dziepak’s work sits in the interstices between some of the editorial markers for this edition of Works on Paper: original, fake, replica, authenticity and aura being some of them. Myth and origin are also good iterations of these words, for thinking about what she makes, and why.’
‘Photographs and words cannot convey the micro-perceptive response which Dziepak’s objects elicit and also require in order to be fully actualised. Visually mis-leading surfaces and unknowable interiors invite the viewer to handle them. ‘Design’ has been minimised. Gesture, viscosity, gravity and geographical movement within the glass order the materials into a form; references and suggestions are multiple but never resolved. Opaque and translucent colour, stony internal chambers, rounded protrusions, and shifts in temperature and heft, an occasional lens offering a reveal to internal topographies and detail – the forms turn endlessly, fitting perfectly and ergonomically in one’s hands. Unfathomable as they are, describing Dziepak’s glass artefacts in the context of a 5,000 year narrative, with its beginnings in an arcane period of history feels to be an appropriate scale and frame of reference to situate her work.’
The glass quality that I work to achieve is opaque or translucent glass with its surface covered with crystals and resembling polished semi-precious minerals, veined with a spectrum of dark contrasting hues. Therefore, my methodology is based on exploration of the technological potential of glass to realise my formal aims. My research in coloured glass concerns the possibility of depicting glass flow by means of the multi-coloured patterns’ arrangement.
In crystals, for instance, different layers of colour reflect nothing more than the course of growth; the happening of time. I consider glass to be a material that allows reconsideration of the processes similar to that of the crystals’ formation but in a limited amount of time.
The evolution of the human brain may be linked with the development of the hand as a precision instrument, which extends sensory processes of thinking. With this in mind, to enhance visual and multisensory experience I create hand-sized sculptures, perceived and apprehended by touch in motion.
The glass quality that I work to achieve is opaque or translucent glass with its surface covered with crystals and resembling polished semi-precious The Lithyalin colouring glass technique invented by Friedrich Egermann in 1828 is the principal inspiration that pushed my research further. Initially I focused on a simple method of fusion for glasses with different viscosities, which relates to pâte-de-verre principles developed by the French Art Nouveau artists including Emile Gallé and Almeric Walter. Subsequently I based my research on recent scientific data concerning colouring formulas of Ancient Egyptian glass production, using raw materials to obtain two background hues for my patterned structures: crimson red ‘dsr’ and indigo ‘hsbd’ vailed with black ‘km’.