No. This is vitreous enamel: finely ground jewelry glass that is applied using wet or dry methods to hand-hammered copper, then fired in a furnace at approximately 1500°F. The glass fuses permanently to the metal surface through multiple firings. This is an ancient enameling technique, not resin casting, glass pouring, or glass fusing.

No. While both techniques involve heating glass, they are fundamentally different processes. Fused glass involves layering sheets or pieces of compatible glass and heating them in a kiln until they melt together, typically at temperatures between 1325°F to 1500°F. The glass fuses to itself, creating a flat or slumped form.

Vitreous enameling uses finely ground jewelry glass that is applied to metal and fired at approximately 1500°F. The glass melts and chemically bonds to the copper surface, creating a permanent fusion of glass to metal. The glass used in enameling is specifically formulated to have a thermal expansion rate compatible with metal, allowing it to withstand the repeated heating and cooling cycles without cracking or separating. This is entirely different from the glass used in fused glass work, which is formulated to be compatible with other glass (and is typically much less expensive).

Additionally, vitreous enamel work involves the ancient metalworking techniques of Repoussé and Chasing to create the dimensional copper form before any glass is applied. The result is a sculptural metal artwork with a permanent glass surface, not a glass object. Each piece can be fired dozens of times to build up complex layers of transparent, translucent, and opaque glass, creating depth and luminosity impossible to achieve with fused glass techniques.

Vitreous enamel is applied as a finely ground jewelry glass, either dry or mixed with water or other binders in a painting technique, depending on the desired effect. Each layer is carefully applied to the hammered copper surface, then fired in a furnace where the glass melts and fuses to the metal. After cooling, the next layer is applied and the piece returns to the furnace. This process can be repeated up to 20 times for a single sculpture.

The time varies significantly depending on size and complexity. The copper must first be hand-hammered using ancient Repoussé and Chasing techniques to create the dimensional relief. The metal is frequently annealed (heated to soften it) as hammering causes work hardening. After the form is complete, stainless steel supports are TIG welded to the back, and then the multi-layer glass application and firing process begins. Larger, more complex pieces can take weeks or months to complete.