'Make Your Mark'
The theme for this show is Mark Making on Glass.
Glass artists make their Mark.
From finely etched lines to emotive gestural flourishes, when artists make their mark in glass, the results are beautiful, surprising and sometimes challenging.
This new Contemporary Glass Society exhibition explores the creativity, variety and dexterity of artists who make marks on and into glass, using techniques ranging from cutting and engraving to painting and staining.
Twenty-seven CGS members were chosen for the show, which is part of the CGS Glass Skills 2013 – a whole year of exhibitions, events and workshops that highlight the part glassmakers play in keeping ancient skills alive, and in adapting them to create innovative and original art for today.
Emma Garnham has also very kindly written an article to accompany the show, on her own use of mark-making and how she uses this skill in her work. The article can be seen at http://cgs.org.uk/information/107
The exhibition was launched on the 3rd April 2013
As with all online gallery exhibitions, this was a juried show, selected by the CGS Committee.
Inspired by and expressive of the work of human hands that contribute to the games that we play for winning, for fun, for life, for survival. This panel won third prize at the 'Games' exhibition at the National Waterfront Museum in association with Swansea School of Glass and the BSMGP.
Fabricated through the techniques of sandblasting, painting and leading on transparent and semi-opaque antique glass.
Fused and painted English Antique Glass
Stage sandblast colour overlay bowl, almost black over clear, 11.5" x 2.5". Blown by Ian Bamforth.
25 x 25cm
Hand blown graal vessel with topaz internal casing. Hand brush painted using high firing enamels. Marks made using hand made sgraffito tool. Cased in clear glass, blown and shaped.
Through this series I am investigating the interplay between the different techniques of stained glass and hot glass by utilising the graal technique. Instead of engraving the glass embryo, I paint on it, using traditional stained glass enamels. These marks are fired in to the surface of the embryo in a kiln before being reheated and re-blown into their final forms in the hot shop.
This process pushes the process of glass painting and glass blowing beyond their traditional limits enabling me to produce unique canvases in hot glass.
Fused glass bowl using iridescent glass and frit
Double plated red on white flash over blue on white flash. Acid etch technique.
Inspired by Eugene Rousseau's porcelain plate 1873
Engraved with stone and copper wheel lathe and flexible drill
This piece is cast in layers using decals and drawing. It is inspired by a walk in the countryside with my dog.
Detail of the platter which shows a variety of marks including the the patterned glass and the painted fish with a dichroic eye.
Overlay, Wheel Cut, Sand Carved Blown Glass
Lost wax cast glass with enamel colours and applied glass pieces
Date: March 2013
Float glass;slumped,fused and Sandblasted. With oak stand
The float glass has been slumped and fused over a hand carved mould. The colour is applied to imitate the surface deflection of water shadowing onto the ever-changing surface of the seabed.
Recycled bottle glass and opaque white glass, painted with black trace paint.
The spikes on the cacti are made with a flick of the brush, the patterns on the pots are more controlled and reference mid-century Scandinavian ceramics.
Inspired by the simple, fluid lines of contemporary Japanese illustration.
Each figure is 'painted' on a different layer giving depth and perspective.
Heavy bowl, 10.5cm high x 19cm diameter, light blue glass overlaid on clear lead crystal, blown to my design by Potter Morgan Glass. Cut, polished and wheel engraved 2012
Portarit of a Cambodian girl photographed just after dawn in Phnom Pehn, February 2011, during Lunar New Year celebrations. I wanted to describe the simple beauty of this innocent child with as few lines as possible. Her youth and innocence seemed like a symbol of hope to me on this New Year's Day dawn following the proceeding day's harrowing visit to The Killing Fields Museum.
Part of a series of "marked men" exploring identity and individuality.
transparent, black and white bullseye glass, murrini, cut, fused, cold worked.
Fused and slumped Bullseye sheet glass; powder and frit sifted and manipulated with various tools and brushes; stringers and torch-worked rod.
Glare features images taken by Magnus Jackson of Perth, Scotland using glass plate photographic techniques in the late 1800's.
The images were digitally scanned from the plates, before being re-exposed onto screens for printing back onto the glass hare.
This piece is now in the permanent collection of the Perth Museum & Art Gallery, owned by Perth & Kinross Council.
Techniques: Fused, Slumped, Painted.