Lucio is currently working on a bas-relief for a Mega Yacht; the theme is Troy. He is working in close collaboration with Alessandro Cuccato (Vetroricerca Bolzano).
From its inception, it was clear that flamework could only be part of the work. For its realization, he has developed a hybrid technique that combines flamework with fusing. Unlike traditional glass fusing, whose final product recalls sculpted monochrome marble, flamework highlights details in transparency, bringing contour and colour to the fore, imparting dimensional definition to the bas-relief surface.
Lucio’s pioneering invention combines flameworking and lost-wax casting in plaster-silica moulds. The technique was presented in Chicago last year. In June 2016, he will present the work at the Corning Museum of Glass in New York. In the meantime, he continues to develop and perfect the technique, overcoming obstacles to achieving the ‘impossible’.
Excerpt from an interview by Ilaria Ruggiero in the on-line journal Piercing Eyes Distilled Art Pieces.
Lucio Bubacco examines the correct position and application of each figure on the glass disk. They are hot fused to the surface and sometimes the melting effect resultes in excessive soft contures. He examines the correct position and application of each figure on the glass disk. They are joined by heat fusion to the surface and sometimes the melting causes excessively smooth contours.
Lucio discusses with his team experiments in transparency for a work in progress. One concern is that black will have no transparency even when the glass ground is bright red.
Flat glass objects such as this are different from paintings. Seen from the back, they can offer interesting, even beautiful, expressions of the front view.
Perfect illumination is crucial to this piece. A proper balance between back and front lighting will affect how the viewer perceives the work.