Applied science and morphology of gold. Agata Karwowska on the process, concept and development of her signature fire-sculpting technique.
Molten Origins
This technique was born intuitively when Agata accidentally pushed a pair of metal tweezers into the heated silver sheet, which drew a crater and exposed the metal's natural, raw structure beneath the smooth surface. Exploring this phenomenon, she discovered that the textures emerging from such structural deformation of metal can create organic ornaments, unique to each attempt.
She then developed the process so that the sculpted alloy appeared aged, imitating the eroded stone worn by time, present in the ruins of ancient buildings. This intentional aged effect, called rustication, has been used in masonry since antiquity to achieve an aged appearance.
Growing gold crystals
Heating metal near its melting point allows to alter and expose its elemental structure. Between its solidus and liquidus, when the molten metal takes form of an unstable mass and begins to solidify, it starts to recrystallise. Its particles, decomposed and decompressed by heat, now gradually accumulate, growing new microcrystals. These clusters of microscopic grains emerge as raw undulations from the metal's surface.
This process can be repeated several times by controlling temperature and slowing or hastening the solidification under the Artist's hand.
Unlike the reticulation jewellery technique, which draws creep on the metal surface, fire-sculpting affects its tectonics. Reticulation creates a decorative touch; sculpting transforms the entire substance. It forces the new crystallised texture to form from within the structure.
Application & Limitations
This technique can be successfully applied to most precious metals. However, the best results occur in metals of higher fineness, particularly those with lower copper content such as 18k and 22k gold or sterling silver. This ensures the metal remains elastic yet brittle enough to be manipulated. Platinum and palladium are more challenging to work with due to their higher melting point range.
Conceptual Background
The fire-sculpting process is closely connected to the concept of time. Rusticated gold solidifies in seconds, symbolising centuries of natural erosion compressed in an instant. Its surface becomes a metaphoric record of this transition from liquid to solid, as if inscribed within the metal’s memory.
Artistic Development
The first work where Agata Karwowska applied this technique in 18k gold, the Lava Series, presents as unearthed fragments of volcanic mass. The gold surface appears rippled, revealing the powerful effect the heat when it transforms the metal from solid to molten state and back.
The creation of Lava gave rise to Liquid Aurum, the successor series of sculptural rings. Here, the volcanic crystallisation is juxtaposed with lustrously smooth areas, creating an illusion of untamed, flowing gold. Intense structural manipulations in 18k gold manifest also in other pieces of the Cyclopean Collection, where the sculpted alloy is compressed into more geometrical forms.
A key development came with the first attempts to texture 18k gold wire, establishing the foundation for the Classical Collection. Molten and forged square rod is here folded into angular shapes and layered, imitating the upper sections of classical cornices. Agata continues to develop the technique, texturing wire as fine as 1 mm in diameter.
