Why? Because it is there. Glass is strong in compression, weak in tension, rigid at room temperature, glossy textured, and can be transparent. Thread cannot sustain compression, is strong in tension, usually fuzzy textured, and is usually opaque. A challenge that I saw to use the one material in the way the other was used, by creating woven glass textiles (and not teeny fibres either as in fibreglass). Here are some of my Tissage de Verre pieces (the name is my invention, in case you wondered).
This plain weave bowl was my first excursion into tissage de verre. I learnt a lot from it, for example that single thickness glass is too thin to make good threads. I also started learning about firing cycles and controlling them.
Only two to three glass artists worldwide have produced tissage de verre pieces, and those only in plain weave. Though the technique is quite easy to describe, it is not at all easy to execute. It requires a great deal of planning, a lot of precision, and tight control of firing cycles. Mistakes are unforgiving. Not at all consonant with the style of trying something and adapting what happens.
Tissage de verre, Spectrum, 300 x 300 mm, 3/4 twill weave, framed with silver matt finish. 2002.
Tissage de verre, Spectrum, 300 x 150 mm, platter. Plain weave. 2002.
Tissage de verre, inspired by Navajo rug. Spectrum, mixed weave, framed. 2002.