Charonne’s Studio in Scotland uniquely casts blown glass, designing and making all of the materials she melts into a Glass Sculpture. Colours float and frolic inside clear glass, reminding us of everyday ‘magic’ in the natural world.
Through unexpected mark making and surprising changes in composition with the slightest change in perspective, these energetic pieces make palpable the intangibles of light and movement and the wild and free spirit of the Scottish landscape.
‘Orchestral Casting’ is Charonne’s original method of kiln casting blown and hand shaped glass. Working with heat and gravity over time and space (i.e. the volume and shape of the piece), she designs the conditions in which Glass itself will paint when it is molten, creating flecks of colour, brushstroke and line as it moves to fill the mold. Coloured and patterned glass drops, flows, wraps around clear glass in a sequenced activity... Subsequent cold working of compound angles and lenses, brings out the reflective qualities of glass, transforming what feels like a solid mass into a diaphanous lightness of being.
I am a kinaesthetic thinker, I think through movement, so my work is inspired by the way I move through the landscape. Much of my inspiration comes from being physically active and what I see in these moments of extraordinary beauty and of quiet reflection, where nothing is in view apart from rolling hills and expansive skies. These places are mostly in the remote parts of Scotland, at the top of mountains in the Scottish Highlands.... but I've also been inspired by Icelandic glaciers; the narly, volcanic rock of Fuerteventura; rugged cliffs along the west coast of Ireland; turbulent sea in St Andrews, Scotland; and rolling hills in the English Lake District.
Early in my life I was a classical violinist. The way that music takes shape over time - how the melody forms an image in our mind several bars into the piece - still influences how I think and create today. I design for interaction, making compositions that unfold in time.
The painting assumes the format of a 'movie' of our personal experience of moving around and improvising with the piece.
The Scottish Gallery, Edinburgh described the work as 'happy making'. Some say the interactive nature of the work is 'magic'.