Archives: Artists

I work in fused glass to create a variety of projects including pieces for the home and garden to bring light and colour into your space. Recent commissions have included:
– a triptych in wood and glass showing water, reeds and dragonflies
– glass flowers for display on a balcony
– a mirror surround reflecting the coast
I also create colourful jewellery from both art glass and recycled bottle glass.

I particularly enjoy capturing the finest of details of nature and interpretation them in glass.

Creating glass leaves withglass poders to create awesome „replica“ of ephemeral nature, as well as bowls and vessels for glass exhibitions

I originally trained as a painter and printmaker, but now work in a range of media. A while ago I became interested in ceramics and work that I can make in a kiln, which led me to enamelling and glass casting. Printmaking has been a constant thread in my work and I am interested in exploring glass and print..

Recent exhibitions include Mirage (London Glassblowing Gallery, 2025), Spring Tide and BOUNDLESS (Mint Gallery, 2025–2024), and Glass Beginnings (International Festival of Glass, 2024). Guile’s work displayed Blowfish Gallery and was commended in the CGS Glass Sellers New Graduate Review (2024).
Her awards including the Charlotte Fraser Price Scholarship (RCA, 2023), a grant to attend Pilchuck Glass School (USA, 2023), and UCL’s CHE EDI Small Grant (2025). Guile has presented at the Society of Glass Technology Conference (2023) and UCL’s Colour and Poetry symposium (2022, 2025) and contributed to its associated publications, and currently works as a Sculpture Technician at the Slade School of Fine Art.

This year I am combining photography, screen printing and castings in different sizes.
Diversity in all its manifestations is one of my heart’s topics. I love to use different techniques to bring out the glass in all its colors, varying structures in 3 dimensions.

My recent work consists of a group of ceramic objects collected from second-hand shops across the UK. Originating from different countries and regions, these objects were once part of various domestic settings. Now, displaced and resold, they exist in unfamiliar surroundings, detached from their original cultural contexts and functional meanings. As a Chinese artist living and working in the UK, I project my own condition onto these objects: visible, yet always on the margin; present, yet never fully integrated.
Each piece is gently encased in lampworked glass. Transparent and fragile, the glass does not seal the objects but instead reveals an intangible sense of boundary. In my practice, glass is not only a material language, but also a philosophical manifestation—it symbolizes Wu (non-being) in Daoist thought. Wu is not emptiness, but a space of undefined potential, an open and fluid mode of presence.

Recently, I have become increasingly aware of world issues and the affect they have on people. Many of the works that I have produced as a result of this come from reflections of experiences, both my own and of those close to me.
As a disabled person, with hypermobility/EDS (which affects all my joints) seemingly simple things, such as holding a cup, can curtail my life, because they can be difficult and uncomfortable to hold, causing pain, plus the embarrassment of having to ask and explain my need for an alternative. This is reflected in my current work which is looking at the issues of accessibility and ableism in the world, specifically examining drinking vessels and how they can, not only, be inaccessible, but also create a hostile and humiliating environment.

In meiner künstlerischen Praxis verfolge ich einen mehrstufigen, einzigartigen Schaffensprozess, der die Entstehung meiner Werke prägt. Ich richte meinen Fokus auf die Rückseite des Glases, wo ich verschiedene Materialien gezielt auftrage. Dieser methodische Ansatz bildet das Fundament meiner Technik. Danach lasse ich jede Schicht mindestens 24 Stunden trocknen, was zur Stabilität und Klarheit des Ergebnisses beiträgt. Sobald alle Schichten getrocknet sind, fixiere ich sie mit Harz, um die farbintensiven Schichten nachhaltig zu bewahren. Erst beim Umdrehen des Glases offenbart sich das vollendete Kunstwerk. Meine neuartige Methode schafft organisch wirkende Strukturen, die an das fließende Spiel von Lava erinnern und durch strahlende Farben unterstützt werden. Diese Technik überzeugt durch ihre Einzigartigkeit und bringt die verborgene Schönheit des Materials ans Tageslicht.