#1 Sculpture assembly tech, hanging dynamics, proof of concept

I think it’s important to commence my blogging here with some additional details regarding my glass sculptures assembly technology, hanging sculpture dynamics and proof of concept.

I built my first hanging sculpture in 2001. That year I completed three pieces. I did my homework after the first one to discover the very best type of clear epoxy specifically made for bonding glass (expensive!) and the surface preparation needed before aligning to adhere the glass elements of the sculpture together permanently. The epoxy (HYXTAL NYL-1) has a tensile strength over 4000 lbs per square inch, is UV stable and has been on the market for 43 years. The sculptures weigh between 5 lbs and 30 lbs. There were a couple of early failures based upon my lack of knowledge as to how large surface areas needed to be in order to have sufficient epoxy applied to provide a successful lasting bond. I also learned of additional enhancement techniques and to utilize different application rates and timing to allow for the most precise bonding. Along the way, I’ve felt intuitively that some larger, heavier compositions demanded epoxy more thickly applied even though it was technically not necessary.  One might call this over-built, but the key then became to do this as aesthetically and invisibly as possible, which always I do. The goal each time is to make the bonds essentially invisible (certainly so from a normal viewing distance) in order to have the completed sculpture look like it was all molded together and is monolithic. I am pleased to say that this illusion is one of my standards of successful composition and part of the terrific appreciative feedback I often receive.

As regards the hanging line, I shifted years ago from making two loops around the sculpture using two pieces of the monofilament acting as a tight, but repositionable linkage to the piece. This was/is not as aesthetically elegant for creating the illusion of flying free compared to cutting a groove into a central glass element to create a channel for just a single piece of the monofilament to safely pass through the sculpture. This necessitates making a cut for the groove at a location which when the piece is fully assembled allows it to hang and balance at an angle and to convey a satisfying “float.” It is this floating effect which is so key to the illusion effect of the sculptures to seem to be flying.

 The proof of concept has been the epoxy holding up perfectly on sculptures that have been hanging in my space for over 12 years with no issues. NO CHANGES have been observable in the bonds or in the glass elements. I also use double-structure, fluorocarbon, monofilament fishing line. This is the most expensive, UV stable line and I make the terminal loops for the hanging line with premium, aluminum sleeves crimped on for effectively permanent fastening. These cannot fail once crimped on correctly. The line test strength I use varies by sculpture size, but is 100 to 200 lb test meaning the weight of the line is between 6 and 20 times stronger than the weight of the sculpture. It feels good to know this has worked so well. Installing screw eyes into the ceiling is the last element of the hanging process and like anything else that’s screwed in, these have to go into something solid in the ceiling in order to make a secure hold to hang the pieces onto it.