I was inspired by the monasteries of Lindisfarne and Jarrow, which were major Christian centres in the 7th and 8th centuries. These communities brought the scriptures to life for devotees through both written Gospels and stained-glass windows.
This project explores the story of glass in the Northeast, as inspired by the Lindisfarne Gospels. The work comprises twelve pages, representing key moments in the history of glass in Sunderland—from its origins to its growth as a local craft, industrialisation, and eventual decline. I combine illumination and stained-glass—two endangered heritage crafts—to celebrate and preserve this rich cultural narrative.
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“Embracing the unpredictable nature of glass, Lucy’s current works navigate themes rooted in the fragility of the human condition, and the dynamic between grief and memory. An archive born of the fear of forgetting, her work is a quiet act of preservation.”
A recent project was developed in response to the theme Being Human. I began with the vertebra of a tuna fish, which I cast in glass using the lost wax process. For me, the fish vertebrae acts as a metaphor — a reminder that humans are not more important than animals, nor they than us. We’re part of a shared, interdependent existence. Alongside the glass piece, I created plaster versions of the vertebra and worked with other found objects, exploring material contrast, structure, and transformation. The work grew into an installation titled The Garden of Gethsemane, referencing a place of reflection, betrayal, and moral crisis. In the context of today’s world — fractured by inequality, environmental collapse, and political brutality — it speaks to how far humanity can fall. Though abstract, the forms suggest a deeper tension. The installation invites viewers to reflect on their place within the natural world, and on what it truly means to be human.
The unfolding flower evoked the beauty of silent, organic motion. Like
stills from a video, the flower at various stages of its life represents the constant state of change of emotions we experience in life.
‘Scan-xiety’ kiln formed and powder printed glass, metal, Perspex Scanxiety is an interactive glass zoetrope exploring the emotional strain of waiting for medical scan results. Made from kiln-formed and powder-printed glass, the piece relies on a pulley system that requires two participants: one to operate the mechanism and another to observe the looping internal imagery. This unequal interaction reflects the loss of agency and helplessness often felt during medical uncertainty. The repetitive, circular motion echoes the mental cycles of anxiety, fear, and hope that accompany these waiting periods. Drawing on personal experience, the work invites reflection on vulnerability, control, and the invisible weight carried by those caught in limbo.
Recent work has been inspired by observing light refraction through coloured glass and the relationship and connection of this glass, to the space around it and how this creates a personal immersive experience with the observer. Creating a visual new immersive experience through experimenting with the use of new techniques, with the inspiration of Constellations and galaxies. A set colour range to fully appreciate the reactive qualities of the glass colours is used, layered in a way that creates an aesthetic interest and by using recycled glass heated by an electric powered furnace. This helps me to create bespoke unique galaxy inspired glass vessels that are sustainable in their design.
The viewer is invited to explore the tactile and textural quality of the glass, to be immersed in its’ beauty particularly when this is viewed with light underneath it and creates a beautiful organic refraction of colours to create calm.
In my recent work, I’ve been exploring emotional landscapes—pieces that don’t depict a place directly, but rather the feeling a place leaves behind. These works are deeply personal, often inspired by fleeting memories, inner silence, and the passage of time. I use the natural movement of glass—its ability to flow under heat—to allow forms to emerge organically, like hills shaped by wind or water. My pieces aren’t made to let light shine through—they are more like paintings, where both the canvas and the paint are glass. Each layer, each shift in color, holds emotion rather than illumination. I’m not trying to recreate nature, but to let something essential rise through it—a sense of being, of remembering, of belonging and longing. My landscapes are not always calm; they carry tension and questions, but also stillness. Each piece becomes a quiet reflection of the invisible places we carry within.
Her jewellery design is built on principles of simplicity. Her compositions are a mixture of minimalist design with nature shape in transparent and vibrant colours. The signature jewellery you can wear every day or for special moments in your life.
Exhibiting globally, sought after by collectors and fashion forward individuals.
My opus of unique works extends from jewelry to bowls, plates, clocks, and decorative objects to glass paintings that I made specially for my last exhibition.
I am planning to make more pictures in glass using the glass fused technique, and I will concentrate on making big pieces for home decor, like big plates and bowls in intricate and interesting shapes.
I have workshops and courses in my Amalgam glass studio all the time, where I am teaching my students glass fusion.