brendan eilola glass
Glacé Fruit
Archival Introduction
Glacé Fruit traces a concentrated period of material research undertaken in early 2020, marking the ignition point of my glass practice. During this time, digital modelling was brought into dialogue with traditional lost‑wax glass casting, while I simultaneously designed and constructed the kiln that would become the central tool of my studio.
Process Overview
Working at a small scale, each form was developed through CAD modelling, resin 3D-print prototyping, silicone mould construction, wax iterations, refractory investments, testing, before finally casting and cold-working the glass.
Archival Positioning
Glacé Fruit marks the foundational moment of my glass practice — the point where digital modelling, traditional casting, and material experimentation converged. Produced once, in a single concentrated period, the archive represents a complete and finite body of work. No further editions will be made.
Three sculptural families emerged from this process: the biomorphic Soft Forms, Geometric, and the more gestural works that became Play. As a closed archive, Glacé Fruit represents the complete body of work from that period — a finite collection shaped by digital design, material experimentation, and the discipline of hand‑cast glass.
Availability
Only a small number of pieces from this style remain. Each ring is an individual outcome of the 2020 casting series, produced in a limited set of sizes with no repeats beyond the original run. The moulds were destroyed after casting, ensuring the series cannot be reproduced and no additional editions can be made.
A selection of the archive will be made available for sale; however, sizes, colours and designs are limited.
Provenance
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Designed and cast in 2020-2021
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Lost-wax cast glass
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Digitally modelled forms
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Hand-finished through cold-working
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Opaque works in kiln-cast glass; transparent works in high-clarity crystal
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Closed archive; no further production
Collector Notes
Works from Glacé Fruit occupy a distinct place within my practice: early experiments in colour, contour, and scale that informed the direction of my later kiln‑formed pieces. Each object is treated as a small‑scale sculptural work with its own history and material identity.
