Udo Zembok

Les essentielles 1 et 2
© Udo Zembok
60cm x 60cm x 5cm

403, moyenne Corniche
06240 Beausoleil
0033 (0) 493 789 950
06 32 90 27 10

This technique was already used 1 500 years BC to make glass objects. At the beginning of our period, it gave way to glass blowing. Glass processing in the kilns was reintroduced in Europe by the 1870s.
Définition: Fusing consists in superposing several pieces of glass and fusing them in the kiln into one single piece. The difficulty of this technique lies in the monitoring of the burning to avoid tensions that could happen inside the substance. Hence the difference of the nature of the glass to be fused has to be taken into account. The glass pieces must be compatible, belong to the same range and have the same coefficient of expansion. Even though, there may still be thermal constraints. A more colored glass reaches a higher temperature hence the occurrence of potential tensions while cooling.

The technique: Kilns that can reach up to 1 000°C are being used.

The technique consists in taking a sheet of glass called « base » then superposing differently colored pieces on top of it according to the expected result.

The double line of his work, public monumental commissions and independent sculptural work, leads Udo Zembok to define himself as a visual artist in glass. He does his own works or the smaller pieces in his studio, the bigger works, needing more room, bigger kilns as well as extra qualified hands are done in partnership with master glassmakers within their premises.

The painter Udo Zembok has thus shifted from using superposed colored substances reflecting the light, to radiating colored light.

He is now a glass master who paints with light, who lets it be seen within a space, and modulates the latter by revealing the volume encasing the glasswork.

Since he first started in 1986 in Amsterdam where he did some rough early testing of glass fused between two sheets of armored glass, Over the past thirty years, Udo Zembok has never stopped researching and evolving by devising and trying many techniques or architectural approaches always focused on his major concern: experimentation with colors, using monolithic glazed surfaces obtained by superposing several layers of colored glass, as if they were glacis layers. His approach tends to detach the colored optic and visual effect from its material ground to get closer to the immaterial origin of light.

In his sculptures Udo Zembok attaches great importance to the laminating of the glass and by laying the colors in the very heart of the substance, between the layers of fusing glass, he obtains a vibrating effect through the intimate blend of light and color.

His colors are the result of the mixing of several colors. For instance, to obtain a particular red he superposes purple, orange and mauve as a painter would with glacis. There is always the hint of a big format within a small one in Udo Zembok. Reciprocally, by a closer look at his monumental glazed surfaces and visually fragmenting them to discover the mystery of their depth, the visitor can spot out the many small formats to come.