On Stormy Ground -(forces of nature)
With all the recent storms and flooding we have experienced recently, we thought it would be appropriate to find a way to celebrate the unique drama of weather and the elements that we have witnessed this year!
So what better way than to hold an exhibition that is packed full of work influenced by the forces of nature: storms, rain, wind, clouds, the sun, or the elements- water, fire, earth and air.
'On Stormy Ground' explores the various ways in which weather and the seasons have inspired some of our glass artists. From storms on raging seas to coastlines worn by wind and rain, these artists have responded to weather and other natural forces, through a range of techniques and styles.
Some of the works in this exhibition use weather to directly translate a mood or state. Others impart more subtly the preoccupation of human sensibility to natural forces, while some mirror the spiritual significance that weather holds them.
33 members have been selected for this spring exhibition and it certainly reveals the breadth and diversity of work here at the CGS!
Anyone interested in the changing effects of weather should find the diversity of works fascinating.
Thank you so much to all those submitted work and please do apply for our next show which will be advertised soon.
The show was launched on Mar 30th 2014.
The light, textures and sensual properties of the shore are reflected in translucent kiln formed glass, also reminiscent of beach glass. The fluidity of the sea is portrayed.
The tension between strength and fragility depicts our coastal erosion. At the height of the Spring tides, what were once gentle, rippling waves suddenly become a powerful force, reshaping and transforming the landscape.
Original design made from carving into plaster mould and adding enamel, frit and confetti glass kiln fused to create the postcard
Impressions of Nova Scotian tree bark cast with Cape Breton soil.
Much of the thought behind these pieces was sparked by the accounts of early Highland emigrants to Nova Scotia being completely dumbfounded by the sight of large trees upon their arrival in Canada, indeed many of these settlers, coming from treeless coastal Highland areas, had no experience of felling trees and found initial subsistence extremely difficult.
‘They were landed without the provisions promised them and without shelter of any kind, and were only able to erect camps of the rudest and most primitive description to shelter their wives and children from the elements […] Many of them sat down in the forest and wept bitterly; hardly any provisions were possessed by the few who went before them and what there was among them was soon devoured, making all old and newcomers - almost destitute.' (MacKinnon, This Unfriendly Soil, 57-66)
Perilous conditions during the first winter made conditions even more hostile for the initial settlers, resulting in many deaths and causing those who survived to resort to eating the bark from the trees in order to stay alive.
Dimensions 22cms long, 10cms high, 13cms wide. Sandblasted and coldworked. Bullseye glass
Free-standing glass sculpture; glass powders and sheet; fused; cold-worked and shaped. "Uplift" attempts to capture the upheaval caused by the collision of tectonic plates, resulting in stacked 'nappes'.
The Antarctic Peninsula is a remote and primordial place. A vast and pristine landscape of mountains, calving glaciers, hanging ice cliffs, huge tabula icebergs, sea ice and the deep ocean. A place subject to spectacular weather phenomena.
Through this work I intend to interpret, rather than reproduce my encounters within this remarkable environment. In particular where sky, sea, land and ice collide. By compiling stringers in multiple layers my aim is to explore and describe the experience and intensity of the colour of this exquisite place.
Water in Nature has been my biggest inspiration, which has played a huge influence in my work. I have chosen glass to explore the transparency of water as they both share the same qualities.
I am fascinated by the different movement of the waves and the beautiful shades of colours seen. My forms are developed from a horizon line, a curve that I observe during my holidays, which I aim to represent in my work. It also represents the sky and how the colours are reflected on the sea.
I have used the techniques of kiln casting and cold working and have applied copper carbonate and Mazarin blue cobalt body stain for the colours to create this sculptural piece of work.
Inspired by the beautiful sunsets we get in the Adelaide hills. This is a tribute to the Australian tradition of toasting the sunset and giving thanks to the natural enviroment in all its wonder. This table lamp also serves as a reminder to us as humans that we need to preserve that natural world, what's left of it and to be ever vigilant against those that put profit before nature!
This piece is from, Children's Stories in Glass Collection by Elena Fleury-Rojo of Red Flower Glass.
This collection Elena has taken moments in time of well known children’s stories and captured their essence in glass; using the words and pictures of the books as backdrops. They are then framed as a 3D image as if the book has come alive.
450mm x 250mm x 10mm
Sample panel for a lightbox for Franklyn Hospital, Exeter.
Deeply textured and fitted with relief surface facing out, so as to invite exploration by touch.
"MMGLUP" is an eruption of heavy legged women from the top of volcanoes. This panel is based on R. Crumb comic from the 1970s.
Robert Crumb (the animation cult hero whose characters Fritz the Cat and Mr. Natural became counterculture icons in the 1970’s) agreed to let Joseph Cavalieri use some of his iconic images in his glass work. They were produced during Cavalieri’s three month residency at the Museum of Arts and Design in Manhattan. Those who know Robert Crumb know about his infatuation with women's solid legs.
9mm contoured bullseye glass with copper inclusions. 26cm circle
Kiln-cast, sand-blasted, acid-dipped and hand polished crystal glass weighing 19 kilos. Force of Nature aims to reflect both the beauty and destructive power of water.
My photographic images are important to me as a way of capturing and keeping memories. They are the first tangible material along with the pebbles I collect from the seashore to be used as physical inspiration for my work in glass.
I fuse and slump the glass in to a hand made plaster cast with the inclusion of my photographic images encapsulated in the process
Through the experimental use of paint allusions to meteorological and geographical phenomena are rendered visible within the layering of sediment and washes.
The repeated process of working intuitively and directly onto the surface of the glass
gains a meditative aspect, as elemental tracks and marks are echoed in the painted gestures.
To conclude the process the glass is fired, fusing the paint onto the glass, capturing permanently, the fragile marks; a preserved moment from the movement of paint across the glass - capturing light and gravity.
In this piece I have drawn on the reflective qualities of iridescent glass to create the splendid chaos of nature.
The moons influence on the Earth has long been known, the pull of the tides causing bulges of water. The extent of this was devastating for so many this year. My piece reflects both the bright, clear full moon and the fading, dark waning moon. The arrival of the floods and the expectant receding of the waters.
The photograph of ‘winter waters’ glass panel was taken in the waterfall, which inspired the piece. Only after extensive rains and storms does this waterfall come to life, then it simply tumbles, white mist and lacy down the mountainside into to the river below. Its voluptuousness and energy seems to call out to all that pass-by, “look at me, look at me’!
White inlay, 3 colour overlay, graal, edvin and engraving techniques.
An island in our estuary (more a sandbar used by transient sea-birds, seals etc) was almost obliterated by the South West storms.
This piece was inspired by Atlantic storms hitting the Pembrokeshire coast. The enamel was sprinkled and painted on to layers of glass which were then fused together.
time and the elements, the remnants of a feast withered away.
I recently developed a pate de verre technique where the pieces are cast not using the traditional plaster/silica mould, but are cast without any previous mould making.
This piece is part of a series Raaga Mala, that is all about the seven Raags(songs) that are sung in subcontinent at seven different times of the day. Deeply connected to the colours of the sky. Sky which is the ancient and authentic emblem of change. I have translated this connection of the song and sky, time and change through color and form. The vessel above reflects the colors and mood of the sky and atmosphere in the much awaited season of Monsoon in India. A special raag or a musical note is traditionally sung on the beats of Tabla drums to invite the blessings of the Rain. The form is mouth blown, hand polished and inspired by the traditional twin Indian drums Tabla. Tabla drums are traditionally placed on two separate cushions.
Frozen oak leaves, reflecting the element of water in its frozen form, each one is individually made and shaped.
This work reflects water.
Sand cast in a hot shop with copper wire tree, the roots cast into the glass. Inspired by the strong coastal winds that shape trees into twisted, contorted fingers clinging onto sparse rocks and cliffs, their roots searching for water, yet so resilient.
sculpture on steel rod comprises a convex base, with holes in which are inserted different size drops.
glass drops reflecting the light of dawn after a storm
The inspiration for the two free standing pieces originates from the observation of sea. Its calming colour, ever changing movement and reflections influenced the idea to capture the character of one of the most powerful elements of nature.
Portrait of the Leader
There is nothing more breathtaking in glass for me, than the look of freshly casted glowing image in glass in sand.
The work represents the new opportunities for artists to work with the symbol of the global proletariat, that was previously absolutely intolerated in the Eastern Bloc.
Inspired by stormy seas.