21 Artists were selected from many applicants. These member artists reveal how they are inspired by and make references to the human figure, their work providing us with gentle references to the shape and nature of the human form. From shadows, to bold texture and form, delicate colouration and luminosity, this is one of the most diverse and imaginative shows we have had. This exhibition was launched in May 2011.
Waterjet and engraved glass figures
Cut, drilled, sandblasted, colored, polished, bonded float class - sculpture made early 2014 - in the aftermath of several deadly typhoons and cyclones - climate change in the march ?
Inside Story.Hand painted, free blown sculptural Graal vessel.
Reverse engraved white enameled glass with 24ct gold leaf backing.
Site specific life sized figures designed for Burghley House Sculpture Garden, Stamford, Lincs
Red AdonisKiln cast using lost wax technique. Dimensions 29x13.5x10cm mounted on marble.
Fused glass picture, wall hanging
Slumped nude with oxides, life size
This work is based on a lithograph of Millie Plessis, of the Theater Francuio (Inside Out835). Cavalieri graphically divides the picture plane and adds a stained glass pattern, bringing this beauty boldly into the modern age, without erasing her timeless beauty.
9cm diameter x 28cm high smoke grey glass overlaid lead crystal vase, blown to my design by Andrew Potter. Cut, polished and wheel engraved 2007. This piece won the inaugural Glass Sellers Prize for Engraving on Glass 2007 and was selected for "Side by Side", the Contemporary Glass Society's 10th anniversary exhibition in 2007. Signed on base.
Part of Kim's 'Solitude' series - www.kimbramley.co.uk
Kiln formed glass panel made by encapsulating trace painting, coloured powders & frits within float glass.
In a private collection, Portugal
Cast soda lime ballotini and silver
Flame worked glass
Dimensions: 35cm x 36cm x 46cm. Clear glass, ground and combined with Edinburgh soils and fluxes prior to casting.
This piece was a commission - the idea of connectedness to nature both through decoration and plinth, the female, nurturing form and the stylised, circular arms were all part of the research conducted for the piece.