Transient Air, a dynamic installation 5 glass sculpture water feature was commissioned by the late Jonathan Scott. Jonathan was a trustee of the V&A and Sally’s work had caught his attention while it was part of an exhibition in the Crafts Council shop at the V&A in 2001.

In 2003 Jonathan asked Sally if she would make a sculpture to replace a concrete urn in the pond at his family home. Sally took inspiration from the surrounding valley landscape. Watching what felt like a constant stream of birds riding air waves as they travelled over the garden and on along the valley, Sally used the sensation of watching the birds in flight in conjunction with map contours to develop the installation ‘Transient Air’. The idea was also that the individual elements of the group installation could be moved to create new arrangements with different dynamics. Jonathan and his wife Annabella enjoyed this part! The experience of the commission was a joy from start to finish.

Jonathan wrote in a diary every day since he was 20 years old. It is quite special to read his entry on the day of installation…

‘Transient Air’ “…one or two minor adjustments of the angles & we retreated to the steps to see the effect; white birds circling the pond, fragments of concorde* splintering off; from a greater height still icebergs suspended over the dark water and their chill reflections. The 5 forms themselves are beautiful abstract shapes laced through with fine veils & streams of bubbles, an effect created by the way in which cuts of glass are stacked together & melted in the furnace. Sally & Rik were obviously delighted, as are we.”

*At the time Concorde used to fly over the valley on its way to the States, it is wonderful to know ‘Transient Air’ triggered this association.

The 5 unique sculptures of the installation that come together to create Transient Air were made using the technique of lost wax casting. Individual latex moulds were made from original models, which in turn were used to produce wax models. Refractory moulds were then cast around the wax models and the wax steamed out. The refractory moulds were placed in a kiln and glass casting them at 875 º.