glass resin



A frame is not the only way to encase an artwork for display. More artists are experimenting with plastic resins or glass to create their pieces. The resin preserves the work, more so than a wooden frame would do. The results are often similar to prehistoric sap with various objects from leaves to bugs, found within them.

If it wasn’t for plastic resin, some of artist Peter Alexander’s works would not even exist, as his piece “Cloud Box” (1966) consisted of “introducing water vapor to the liquid resin during the casting process” which created the cloud within. The artist was actually able to ‘catch’ a cloud, or technically, create a cloud and trap it forever, thanks to the resin.

Another artist who tampers with their resin to create unique pieces is Michal Macku, who in 1989 began working with ‘gellage’, his own invention of combining collage elements and gelatin. Working with gelatin prints, the artist is able to reshape his photographs, “changing their relationships and endowing them with new meanings during the transfer”. He then combines this process with state-of-the-art technology to great his large scale glass gellages, which trap his images in a 3D setting, rather than flat like a photograph.

Roni Horn’s “Well and Truly” (2009-2010) plays with illusion, where the work at first seems like a container holding water, but inspecting the piece reveals the work’s true medium; a solid cylinder of glass. The artist emanates the characteristic of water, its changeability, by allowing air to come into contact with the top of the glass as it sets in its mold, creating a smooth gloss. The artist undermines “all certainty about [the piece’s] solid or liquid nature” changing the physical experience of the viewer.

Changing physical materiality is also present in Kirsten Baskett’s pieces, such as “Autonoma”. Baskett etches delicate images onto fine Japanese kozo paper, later encasing them in clear resin, and the once “fragile paper becomes indestructible and untouchable”. The artist sees her pieces as frozen in time, permanently available to view, but never to experience the true materiality of the object captured within.

-Anna Paluch


The Marvelous Miniature Culinary Creations of @shayaar

To see more of Shay’s teensy culinary creations, follow @shayaar on Instagram.

“People can’t get enough of seeing their favorite treat in the size of their finger,” explains accidental miniature food artist Shay Aaron (@shayaar). Shay studies stage and costume design in Tel Aviv, Israel, but has spent the past decade fielding miniature food requests from every corner of the globe.

Since his first commission — a tiny Seder plate for Passover — Shay has refined his micro-culinary skills, at one point enrolling in a six-month baking course to learn more about pastries. But there will be no sampling of these bite-size morsels. His works, done at a 1:12 scale, are primarily made of polymer clay, but can include resin, glass, wood, metal and paper.

The final step of production is the most difficult to capture, but also the most important. “Texturing is crucial and takes lots of time and energy,” Shay explains. “I’m using a sewing needle to create bread crumbs or the spongy texture for a layer cake. I can work on a tiny piece for an hour just to get the right texture.”


Artist Annalù Boeretto’s Explosive Liquid Sculptures Cast in Resin Glass

Italian artist Annaluigia Boeretto (aka Annalù) imagines a world filled with liquid, where the pages of books or the petals of flowers seem to splash in every direction. The Venice-based artist works primarily with a form of resin to cast the delicate pools of water and glassy elements that comprise each sculpture. Annalù has an upcoming solo exhibition at East West Fine Art starting October 1, 2016, and you can see more of her work on Instagram.

Thanks Colossal


I finished the glow cups I posted the other day. Oh man, I think these are my favorite pieces to date. :D

I wanted to get them posted because last time I made glow cups, I didn’t have time to and they ended up selling out.


  • The rays and octopi were hand sculpted from polymer clay, as were the corals.
  • The water is a clear resin.
  • The glow in the dark pictures were barely edited. They really do glow that brightly.
  • No, the glow won’t run out and should last for years.
  • These will be sold at Florida SuperCon. If you’re going, I’ll be at booth 303 in the exhibitor’s room. I am hoping I have time to make more for MetroCon the weekend after SuperCon.

It has occurred to me that some people aren’t sure the difference between “taxidermy glass eyes” and “following” eyes.

Someone recently asked if it was the way we set the eye deeper into the mask that makes it have the following effect. And while that helps, it’s not necessarily the case. 

In the photos above, you can see a taxidermy glass eye (left) and a following eye (right). 

The Taxidermy eye is a hollow glass dome. Paint is inside the dome, as well as a raised pupil to give it depth. This gives the eye a more direct “field of vision”. Wherever your head is pointed, that is where the eyes are looking. 

The Following eye is plastic resin. It’s a half dome, with a flat back. The paint is applied to the flat portion, giving more space between the dome surface and the eye itself. This allows the iris and pupil to be magnified from different angles and thus have a “follow-me” effect. 

This is a great example of a comparison between the two.

The wolf has painted glass eyes. His mask is angled up a little, this the eyes are looking up, giving the personality to be friendly, and more innocent. Creating moods in a mask with stationary eyes by simply angling your head. 

The feline has following eyes. She is not facing in the direction of the camera, but the eyes seem to be looking towards the photographer. This allows the eyes to have some free movement, and have a more “living” effect. 

Both have their perks. 

Another Example of Following

Another Example of Taxidermy Glass