Possible ways of packing fragile glass artwork into a crate
This blog post is created in case it helps people work out the problems of how to package awkward/ fragile glass artwork into a crate when sending it nationally or shipping it internationally. Obviously it won't apply to all circumstances but it's what I did when sending 'Fragility' from the UK to USA for Bullseye Emerge in 2018.
Like with any artwork where you are not going to be present during installation and packing/unpacking, you will need to leave instructions that are accessible from the outside of a crate (as well as in advance by email) so that the receiving gallery etc. knows how to carefully un-package and install the artwork.
This can be done using sticky document wallets on the outside of a crate.
Things need to be packaged extremely well to avoid any damage since none of the delivery companies (that I'm aware of) provide any insurance against glass breakages.
I will note that my crate design is different to most. I requested that instead of only having access from the top or one side, but that I wished for the crate to be designed/fabricated in two halves so that I could gain access more easily, especially since ethe artwork is highly fragile and difficult to hold. There is a blue triangle drawn on the corner which will show complete when the correct corners have been successfully placed together. The only other thing that extra that could be applied are extra strips/bands of plywood along the edges to provide extra protection as shown in the third photo. Also what cannot be seen in my photos are the feet underneath the crate (as in the third photo) that help determine which way up the package is and may assist in the handling of the crate especially if it is heavy and needs to be picked up using a forklift or pallet truck. Other useful insignia are 'this way up labels' and 'breakable glass' taping. In addition I also penned circles around the screw holes to make it easier to spot how to dissemble/reassemble the crate.
The crate largely held together, but when the piece was returned to me it wasn't 100% holding together. Whether this was because of brochures being put in the crate and making it extra tight fitting (which may have then been removed by customs) or whether it was because of it being a very tight fit in general with the foam inside I am unsure. Not all screws had been secured in their places when it was returned which may have partly caused the issue. The crate was still holding together but had a gap on one side. I have since re-nailed and glued it together and it is holding strongly.
I have included my instructions in a pdf document below to show what I sent with my work.
As can be seen I used high density foam packaging material cut into several layers to make it easier to access the artwork and these were designed to fit tightly around the artwork but were also cut to shape using a scalpel. I used templates for the piece where I could marking this with a metallic marker and packing smaller bits of foam around delicate parts that could be removed by pinching them so as not to catch or rub on the artwork.
As this artwork's name 'Fragility' suggests it was very fragile and make from Bullseye glass's frits.
Both the layers and the distance from the sides of the crates were planned so there was at least 10cm around all parts of the artwork.
Another crate for my big and heavy artworks Anthropomorphized Waves I & II were packaged as shown below. The biggest measuring W 520 x H 550 x D 120 mm and the heaviest being 67kg. Handling these pieces alone was a nightmare and having height adjustable scissor trucks helped when moving the pieces to and from exhibitions, as well as lifting them to a more comfortable working height when making bases for them.
There is a thick layer of foam in the bottom of the crate, followed by a surrounding thick layer of foam cut out to match the shape of the artwork, along with removable foam pieces to ensure the piece fits snugly, and another thick layer on top. The top layer was a little too thick for the crate and so instead of removing 1 cm entirely I cut a grid and plucked 5cm alternate squares out resembling a chess board. This way there was enough room for the remaining squares to squash down into the surrounding space and the foam was still a tight fit in the crate. This was just as well as the crates had to be stored on their sides for 2 years whilst I undertook renovation work on my studio. Despite this the pieces were undamaged and the foam was still held in place and kept its shape. It's worth noting that where possible it is perhaps better to keep layers and surrounding space as thick as possible so that the foam holds it's shape well, as even though thinner layers may make up the same thickness I doubt these would hold as well over time with weight upon them.
Other types of foam or closed cell polystyrene may work well with panels but I know when reading Bullseye's requirements for Emerge or British Glass Biennale they weren't keen on people using polystyrene due to the mess it leaves behind from handling it.
