Introducing a New Palette for 21st Century Liuli
19世紀，法國雕塑家亨利．克羅斯Henri Cros和羅丹Auguste Rodin透過大量的實驗，不斷的摸索，最後在「琉璃」中找到答案。琉璃是少數可以融入色彩，又能永久保存的一種雕塑材質，但高溫中的琉璃呈液態流動，如何精準「定色」，成了藝術家新的探索旅程。仔細觀察歐洲新藝術時期中有關「定色」的創作，有蜜蜂，有昆蟲，有蜥蜴，偏偏唯獨沒有花。
Sculptors never thought to or could not alter a material’s intrinsic color until artists in 17th century France began toying with the possibility of using color to add motion and life to a static object.
In the 19th century, French sculptors Henri Cros and Auguste Rodin’s experimentation led them to glass. Glass is one of few mediums that can absorb color. Yet in its molten state its fluidity makes the application of color a challenge. This is why experimentation with color placement in glass is one of the greatest journeys a glass artist can take.
Colorful bees, insects, and lizards were commonly represented during the 20th century Art Nouveau period. But what about flowers? Artist Emile Gallé, one of the major forces of French Art Nouveau once said that the colors found in flowers were God’s creations.
Loretta H. Yang approaches liuli art as both sculpture and painting. She believes that color can be applied to liuli the same way it is used in painting. Yet in a 1,400C kiln, what was once solid becomes liquid and what was once defined loses definition as glass and color move through each other. For thirty-two years Yang has experimented with color placement through the pate de verre technique. Breaking through the confines of color limitations in liuli sculpture, Yang has mastered the application of color in her large-scale floral blooms.
The color found in sculpture is not on the surface, it is incorporated into the material itself. Transforming as it interacts with light, sculptural art reaches another dimension through the elements of liuli, light and color. In the 21st century, color finds new life under Yang’s skilled hands.