Mixing it up

Maria Donnai uses taxidermy, porcelain and glass to create her ‘museological’ style. As she embarks on her first solo exhibition, Linda Banks finds out more.

You have a background in mixed media. What led you to start working with glass, ceramics and taxidermy?

I worked as a Veterinary Nurse for 25 years and this has definitely influenced my artistic practice. I returned to college as a mature student and during my studies I found that I wanted to create three-dimensional pieces. Drawing wasn’t enough on its own and I am absolutely rubbish with colour and paint, so I decided to have a play in the ceramics studio. I loved the clean “whiteness” of porcelain and initially focused on this. Then a hugely supportive technician suggested I tried making a glass feather for a particular project and that was it – I was hooked on glass.

The taxidermy came about as a result of an unexpected Christmas present from my husband. I had a couple of days learning how to taxidermy a bird, which then became part of my MA research and was included in my final project. I enjoy visiting natural history collections and this, along with my veterinary background, has influenced my creative practice.  My work has a museological style and I enjoy the challenge of combining different materials to create my own collections. I usually have several different things going on at once and tend to flit from one to another. I’m never bored or stuck for an idea!

What glass techniques have you used, and which do you prefer?

The glass technique that got me hooked was pate de verre. I have since tried some simple fusing (with poor results) and have also enjoyed making foam glass. Pate de verre is my favourite. Through trial and error, I have developed my own technique, but I am always experimenting and trying to push what I can do with glass powder.

Please tell us more about your creative approach. Do you draw your ideas out or dive straight in with the materials?

I start with an object – usually something that I have found on a walk, like a feather, shell or a piece of seaweed. I make detailed drawings from all angles, until I ‘know’ what it looks like. At this stage I don’t know what the finished piece will be. I tend to play about with porcelain, making multiple abstract forms that are inspired by the found object. Alongside this, I cast and start making glass versions. Eventually I find a piece or combination that I like and will then make several variations. My work is quite small and I prefer to make lots of little pieces that can be put together to form a collection. I’m often surprised by what works and what doesn’t.

What message(s) do you want to convey through your art?

I would like to draw attention to the fragility, beauty, and just plain weirdness of the natural world. In doing this I hope to encourage people to care more about nature and, hopefully, protect it.

What is your favourite tool or piece of equipment and why?

Well, I love my kiln – it’s an IKON V61GXR. I invested in a kiln that would work for the very high firing of porcelain and the very controlled firing of glass. It has taken me over a year to properly get to grips with it. Again, I have mainly learned through trial and error. Thankfully it is very efficient to run.  I have to admit that I’m also a fan of Superglue!

Do you have a favourite piece or collection you have made? Why is it your favourite?

My favourite piece has to be the first grey pigeon feather that I made out of glass. I learned so much during the process and to finally get a piece that looked as I wanted was amazing. I have since been able to take these skills and apply them to making different pieces.

Where do you show and sell your work?

I have my first solo show coming up at 87 Gallery in Hull.  This is running from the end of January until 11 April 2026. Some of my work has been shown in the CGS online exhibitions and I have had a few pieces accepted into various local exhibitions. I was lucky enough to be selected to exhibit at the International Festival of Glass in Stourbridge as part of the new graduate awards. And my favourite glass feather went to Pittsburgh in the USA!

Where is your creative practice heading next?

I have enjoyed the focus of working towards a solo show in a gallery and I would love to do more of that. I am continually experimenting with ways of making and combining glass with other materials and I have just been awarded a scholarship at Bild-Werk Frauenau in Germany. I intend to learn some new skills there and see how I can adapt them to fit my own practice.

Find out more about Maria Donnai via her website: www.mariadonnai.co.uk and follow her on Instagram: @mariadonnai.

Main feature image: Maria Donnai’s ‘Deep Unknowns (1)’. Photo: Derek Donsworth.