Firstly,
a layer of highfiring white enamel was applied to the front of the copper
base and fired. 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 dolphin,
fish and kelp were formed from 0.2mm thick 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 and
the piece refired.
The surface was lapped and refired. Details of shading,
anatomy, and perspective were 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 with graded diamond
hones, machine-polished and framed.
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