Firstly, a layer
of highfiring white enamel was applied to the front of the copper base
and fired. Next, a heavy layer of counter-enamel was applied to the back
and the piece was again fired. 999 fine (pure) silver foil was applied
to the front, dusted with various transparent and opaque enamels and the
panel again fired. Initial background details were begun using a technique
involving the build-up of various enamel colours prior to firing; in this
modification of a traditional technique the buildup is exaggerated and
the raised areas collapse upon themselves in the molten condition, giving
a raised, three-dimensional appearance.
The resulting face surface was ground flat; the fish and
kelp were formed from 0.2mm 999 fine silver sheet, embossed and engraved
in the repousse fashion to impart dimensionality, and enamelled into/onto
the face under a layer of transparent glasses, using a technique developed
by the artist. Some preparatory seafloor and distance detail was built
up at this stage to a height of about 2mm above the face (in the previously-described
modification of the traditional camieu technique) and the piece refired.
The fired surface was lapped, middle ground repousse silver
fish added, background and middlegound dolphin formed from 0.1 x 1mm 999
silver wire, laid out in position and wet inlaid with enamels. The operations
were repeated to a total of 20+ firings, with further animals and kelp
being added and details of shading, anatomy, and perspective being refined
after each firing until the effect was satisfactory. The piece was reground
between visits to the kiln, and the surface of the finished panel was hand-lapped
optically flat with graded diamond hones, machine-polished to a mirror
finish, and framed.
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