While preparing to meet with Karl (our craftsman subject) we all agreed that it would be extremely important to spend a significant amount of time observing his neon glass bending process and to capture a substantial amount of video footage which we could use to faithfully illustrate this process as well as the intricacies of the craft.
While we had a solid idea of the visuals that we wanted to capture, we were initially unsure of what we’d actually be able to film during our time in Karl’s workshop. Because of this we decided it would be best to instead focus on creating a list of detailed questions and talking points that would hopefully yield a collection of insightful responses and discussions that would relate well to the core concepts of the Old’s Cool studio. In my opinion our implementation of this list worked out extremely well, and we were able to sit down with Karl and talk through a great amount of information regarding the processes, history and principles that lie at the foundations of the neon sign craft. In addition to providing us with some excellent perspectives into his personal practice, Karl also gave us the opportunity to spend approximately three hours inside his workshop to capture a broad range of B-Roll footage. I think we all left Karl’s workshop with a far greater understanding of the processes behind neon production, as well as a great deal of footage to edit.
Unfortunately we had to push our meeting with Karl forwards a day on very late notice, and as a result we had to work with a reduced amount of equipment and less finalised plans. If we were to complete this project again I think a more rigorous shooting plan would be beneficial as well as a greater focus on capturing more substantial amounts of audio (we weren’t able to record a lot of non-interview sound on the day, and this would have helped us greatly in post-production). Despite these issues I think we were really successful in visualising the unique nature of Karl’s trade, and the precise details of the neon glass bending process.
Through discussing the production of neon signs with Karl and observing him move through the neon sign making process, it became clear that at the foundation of neon glass bending lies a number of crucial key principles. The first of these principles is the tactile, physical nature of the glass bending procedure. Karl emphasised the challenges of learning how to sharpen your movements as a glass bender, and the importance of coordination and precise manoeuvres in forming neon lettering and imagery. It’s certainly a craft which has been relatively unaffected by the automation movement of the modern environment, and this is largely due to the fact that it is a form of work which employs highly specific, complex, and precise combinations of movements. Neon projects frequently require different techniques and workflow patterns, and currently no machine exists which can replicate the precise movements and improvisational skills of a glass bender.
This idea of highly honed physical movement and precision seems like something that’s important to a broad range of sculptural-based practices. From wood carving to glass blowing and metalwork, when crafting three dimensional objects by hand one must truly be comfortable with the intricate motions of their chosen process. One example that comes to mind is pottery and the process of constructing ceramic works through the use of a pottery wheel. This is a craft which requires very fine movement and a great deal of control – over the speed of the wheel, the handling of the clay, and the movement of one’s hands in sculpting and shaping the work. From watching Karl work on shaping the molten glass I feel as if there are many parallels that can be drawn between pottery and glass work.
Another principle that seemed significant to Karl’s work was time, and more specifically the balancing of both patience and swiftness. Watching Karl work really emphasised the importance of timing in neon glass bending – as well as glass-based crafts in general. Waiting for the glass to reach the correct temperature takes both patience and a steady hand, however once the glass reaches a malleable state swift action is required to quickly shape and mould the glass into the desired form. Some of the video footage we captured really highlights this idea – and Karl’s ability to deal with the rapid cooling of the molten glass is something that really impressed and intrigued me.
I think this notion of patience/swiftness can also be discussed in relation to photography, especially more alternative and analogue practices. Thinking about timing and patience reminded me of Rebecca Najdowski’s photographic work and some of the alternative processes that she shared with us back in week 3. Photography is an art form which is similar to glass bending in regards to its requirements of precisely timed and executed operations. For example long exposure shots require the photographer to open and close the camera’s shutter within specific time periods in order to properly expose an image. Similarly, when creating lumen prints and other alternative photographic imagery you must often wait a relatively long amount of time in order to achieve your desired effects.
Deep focus is another principle that is certainly relevant to the craft of neon glass bending. As Karl asserts, in creating neon signage you really have to “lift yourself to a higher level” and devote a great deal of attention towards the task at hand. Neon glass bending definitely seems to be a craft which “demands deep attention to complete successfully” (Hayles 2007). The glass tubing used in the production of neon signage is very delicate, and thus the craftsperson must remain concentrated when it comes to handling, heating and bending it. Karl’s movements and treatment of the glass tubing were very “carefully controlled” (Newport 2016) and it was obvious that over his career he’s become highly proficient in narrowing his focus whenever he needs to execute precise glass bending procedures.
Lastly, the process of tinkering and a trial and error workflow seemed to be another important aspect of Karl’s personal approach to glass bending. Throughout his workshop various neon tests and experimental art pieces can be seen, and as Karl told us he’s always been interested in the artistic potentials of neon. He mentioned that for many glass benders, the creation of neon signage is just a step-by-step process. For Karl however, it has always been important to experiment with different techniques and figure out new ways to accomplish different results. As a glass bender who uses his skills to create both commercial and artistic works, Karl highlighted his habit of “tinkering” and exploring new ideas whenever work is slow.
Through our time spent with Karl and his neon glass bending practice I’ve come to further appreciate the notion of handmade, high skill production and the idea of value in regards to the items that these processes can create. I’m beginning to see why tactile and more tangible objects can be so appealing to us, and Karl’s description of the respect that consumers have for handcrafted products sums this up very well in my opinion. I also think that it’s really fascinating that there are some practices and processes which truly don’t change over time. While there are many “practices [and] traditional crafts [that] have been gradually developed [over time]” (Crespo Arca 2010) the process of neon glass bending has remained basically unchanged, even after 100 years of existence. Furthermore, I feel as if in today’s environment the inability to automate a physical labour is quite impressive and I think that this is something that’s certainly worth discussing further throughout the remainder of this studio. Are skills such as glass bending so reliant on the precise nature of human movement and coordination that they will remain a ‘manual’ craft forever (or at least for the foreseeable future)?
At this stage I’m really interested in investigating a number of the principles and ideas that arose through the completion of this project. Throughout the remainder of the semester I think I would particularly like to explore the notion of timing and patience in regards to both analogue and digital media production, as well as the potentials of trial and error based workflows in the modern media making environment. I’m sure more will come into focus as the next few weeks progress, however I feel as if this will provide a good starting point that’ll help direct the initial stages of Project Brief Four.
REFERENCES:
Crespo Arca, L 2010, ‘Traditional Papermaking in Bhutan: Raw Materials, Techniques and Use’, International Preservation News, vol. 52, pp.37-40. Available from: ProQuest Central. [22 April 2017].
Hayles, N 2007, ‘Hyper and Deep Attention: The Generational Divide in Cognitive Modes’, Profession, pp.187-199.
Milwright, M 2014, ‘Glass and Glassworking in Damascus during the Late 19th and Early 20th Centuries’, Journal of Glass Studies, vol. 56, pp.201-217. Available from: ProQuest Central. [22 April 2017].
‘Neon Signs’ in Nature, 1934, Nature Publishing Group. Available from: Nature Online. [22 April 2017].
Newport, C 2016, ‘Chapter three: Deep work is meaningful’ in Deep Work, Grand Central Publishing, New York.