Reino Liefkes, Senior Curator of Ceramics and Glass, Department of Decorative Art and Sculpture, will be retiring on 1 May 2026 after 33 years and six months at the V&A Museum, London.
Reino joined the (then) Ceramics and Glass Department towards the end of 1992 having previously been Curator of Glass and Silver at the Haags Gemeentemuseum (now Kunstmuseum Den Haag), Netherlands. As an expert on European glass with a focus on Venice, his first few years as Deputy Curator were spent on the transformation of the Glass Gallery (131), the museum’s first FuturePlan (then MasterPlan) Project, working alongside the Chief Curator, the late Dr Oliver Watson. Reino was editor and co-author of the book Glass, published by the V&A in 1997.
After Oliver moved to the Asia Department to set up the Middle Eastern Section, Reino served as acting Chief Curator until, in 2002, the departments were reformulated and Reino took on his present title. He led the major FuturePlan redevelopment of the Ceramics Galleries over the years 2005 to 2010, and, alongside glass, specialised in Italian maiolica and Dutch Delftware. During this time he co-edited the V&A book Masterpieces of World Ceramics, which was published in 2008.
Reino also contributed to the Medieval and Renaissance Galleries and to the Europe 1600-1800 Galleries FuturePlan projects. For the latter, he researched and recreated the Meissen porcelain fountain by commissioning 3-D moulded replacement parts from the potter Martin Smith working with Steve Brown, senior tutor at the Royal College of Art.
Reino was acting Keeper for Decorative Art and Sculpture between 2023-24.
Throughout his career, Reino has made numerous significant acquisitions for the V&A’s collections and has been especially active in the field of contemporary glass. A hugely respected figure in the glass community, Reino has researched and published widely on glass and other subjects and holds, or has held editorial, advisory and committee posts with a number of external organisations including the International Council of Museums (ICOM) International Glass Committee, The Journal of Glass Studies (Corning Museum, New York), and The Association for the History of Glass, West Dean College.
Speaking about Reino’s imminent retirement, Contemporary Glass Society (CGS) Chair, Sarah Brown said, “I, along with our members, will be sad to see Reino retire from the V&A. He has been so supportive of the Contemporary Glass Society over the years. Recently, we held a much-loved day of talks from artists at the V&A and he shared his extensive knowledge with us on the history of glass and the collection in tours of the Contemporary Glass Gallery and no one wanted to go home! I want to wish him a very happy retirement, and I hope we can continue to see him at glassy events in the future.
“The glass community is so grateful for his support of us through his acquisition for the museum of such a varied and exciting collection of glass from current artists, too, which I think will inspire many generations to come, so we are very grateful for his work in building this collection.”
CGS members can read more about the V&A’s contemporary glass collection in the upcoming May 2026 edition of the print magazine Glass Network.
Glass artists are invited to apply for Stourbridge Glass Museum’s new ‘Artefacts of the Future Awards’ – a competition celebrating excellence in contemporary glassmaking that will see four winners have their work acquired for the museum’s permanent collection.
The competition is open to glass artists worldwide, working in any technique – from blown and kiln-formed glass to sand cast, sculptural, neon, stained glass, flameworked, and mixed media – provided glass remains a central component of the finished work.
The museum’s collection spans thousands of years, including extraordinary objects such as Horus, a 3,500-year-old Egyptian glass fragment discovered within the bandages of a mummy. These pieces connect visitors directly to the past. Now the museum asks: What objects from our time will endure? It invites artists to submit exceptional works that capture the spirit, innovation, and material language of contemporary glass.
Having collected ten major awards itself over the past year, Stourbridge Glass Museum now wants to use its platform to champion the work of others.
“We’ve had an extraordinary year and the recognition has been a testament to the passion and creativity of our team and the artists we work with,” said Alexander Goodger, Director of Stourbridge Glass Museum. “Launching the Artefacts of the Future Awards feels like the natural next step. We want to use our momentum to shine a light on the incredible talent working in glass today and to build a collection that truly represents the very best of contemporary practice.”
The four winning artists will each receive:
£1,000 acquisition prize (inclusive of materials, production and delivery);
A commemorative trophy;
An official certificate recognising their work as an Artefact of the Future Award winner.
The winners will be announced and presented with their prizes during A Celebration of Glass, the Stourbridge Glass Festival, taking place over the weekend of 21 August 2026. The winning works will go on permanent display at the museum from 1 October 2026.
Entries will be judged by a panel comprising Allister Malcolm (award-winning glass artist specialising in sustainability and Founding Trustee of the British Glass Foundation), Corrina Field MA (glass artist and Events & Education Coordinator at Stourbridge Glass Museum), Graham Knowles MBE (Chair of the British Glass Foundation and museum founder), and Helen Taylor PGDip (Curator at Stourbridge Glass Museum and Established Museum Professional).
Submissions are open now and close on 1 July 2026.
Artists are invited to submit completed works for consideration via Curatorspace. Find out more and apply via this link.
Antonis Koutouzis enjoys the challenge of casting as it provides the control, precision and depth he needs to realise his desire of pushing the limits of scale in his work. Linda Banks finds out more.
What led you to start working with glass?
I was first introduced to glass through my family, as my father was involved in selling crystalware and decorative objects in Athens, Greece. Because of this, I was always surrounded by the material, but at the time I didn’t fully understand its potential.
The moment that changed everything for me was visiting one of the factories we used to import from, where I saw glass being blown for the first time. The transformation of the material, from something fluid and full of movement into a solid form within seconds, had a strong impact on me. There was an energy to it that felt almost alive.
From that point on, I knew I wanted to explore it further and understand how this material could be shaped, controlled, and used to express ideas.
Antonis Koutouzis with his University of Sunderland degree exhibition at the National Glass Centre. Photo: David Wood, image courtesy of University of Sunderland.
What glass techniques have you used, and which do you prefer?
Over the years, I have worked – and still do work – with a range of glass techniques, including glassblowing, casting and fusing, lost wax processes, and various mould-making systems that combine contemporary technologies with traditional approaches. However, my focus, both in my personal work and professional practice, has been casting.
For me, casting is the most direct and accurate way to control form, scale and internal structure. It allows a level of precision and depth that aligns closely with how I think and work. At the same time, it constantly presents technical challenges, which I see as an essential part of the creative process.
Working on mould preparation for glass casting. Photo: Maria Zulueta.
Please tell us more about your creative approach. Do you draw your ideas out or dive straight in with the materials?
My approach to making sits somewhere between design, experimentation, and context. Sometimes I begin with drawings, but more often the starting point is an idea – a philosophical question, a socio-political observation, or a conceptual framework. In other cases, the process begins more practically, through digital models, found objects, or material exploration, especially when working on complex forms.
The process often develops directly through the material itself. With glass, you may start with an initial idea, but the material plays a fundamental role in shaping how that idea is ultimately realised. I am particularly interested in this dialogue between intention and material response, where control and unpredictability exist at the same time. What message(s) do you want to convey through your art?
Conceptually, my work explores human relationships, social and political connections, emotional tension, memory, and deeper states of being, approached from both a philosophical and a more grounded perspective. I am interested in using art to reflect on these conditions and question how we experience them.
In a simple sense, my work becomes a way of reflecting on the world I would like to live in, by exposing its limitations and inadequacies.
Part of the glassblowing process. Photo: Graham Muir.
What is your favourite tool or piece of equipment and why?
Depending on the process and what I need to achieve, I work with a range of tools, all of which play an important role. However, the ones I return to most consistently are a handmade sculpting knife and some good quality calipers. The sculpting knife provides a direct and intuitive way of shaping and refining forms, while the calipers offer precision and control, especially when accuracy is critical.
Do you have a favourite piece or collection you have made? Why is it your favourite?
A piece that feels particularly close to me is Till We Meet Again (see main image), which was presented at The Venice Glass Week in 2025. The work consists of two glass balloons, one of them connected to a syringe, balancing a relationship between tension and collapse.
I am particularly drawn to this piece because it brings together two of my main techniques, glassblowing and casting, within a single work. At the same time, it reflects on connection, dependency, and the invisible forces that hold both societies and families together.
You have worked for Berengo Studio since you achieved an MA in Glass and Ceramics from the University of Sunderland. How has this experience shaped your creative direction?
Alongside my own artistic practice, I lead the casting studio at Berengo Studio in Murano. This environment has allowed me to engage with complex sculptural challenges and collaborate with leading contemporary artists. It has been an important space for developing technical solutions and pushing the limits of what can be achieved in cast glass, particularly in terms of scale and structural complexity.
At the same time, maintaining my own practice remains essential, as it allows me to apply and refine these processes in a more personal and conceptual context.
Antonis Koutouzis in the casting studio. Photo courtesy of the artist.
Where do you show and sell your work?
I present my work through exhibitions, collaborations, and independent projects. In the past year, events such as The Venice Glass Week and the International Biennale of Glass in Bulgaria have provided important platforms, allowing me to show my work within an international context and connect with a wider audience.
In addition, my work is shared through my website and ongoing projects, which allow me to maintain an independent presence alongside my studio practice.
Do you have a career highlight?
Rather than a single defining moment, I see my career developing through a series of complex and technically demanding projects. The opportunity to work on challenging sculptural pieces, often requiring problem solving and precision at different scales, has been one of the most important aspects of my development.
These experiences have shaped my understanding of glass not only as a material, but as a system that requires careful planning, timing, and control.
Where is your creative practice heading next?
My practice is moving towards larger-scale works and further experimentation with mould-making systems and casting techniques. I am particularly interested in pushing the limits of scale in cast glass and exploring how engineering and artistic intention can merge more closely.
Alongside this, I am increasingly focused on teaching, having delivered masterclasses at The Glass Hub in the UK, and continuing to develop this aspect of my practice. I am also interested in creating a stronger connection between digital fabrication and traditional Venetian glassblowing techniques, exploring how these approaches can inform and expand one another.
At the same time, I aim to continue developing my personal work in a way that remains both conceptually driven and technically refined.
Antonis Koutouzis leading a glass casting masterclass at The Glass Hub, UK. Photo courtesy of The Glass Hub.
With energy costs rising, how do you see the future for contemporary glass?
The rise in energy costs is already shaping how we approach glassmaking, pushing us to use resources more consciously and develop more efficient processes. I think this will lead to better firing strategies, smarter use of materials, and greater integration of digital methods.
At the same time, in places like Murano, strong traditions make this transition more complex and gradual. Because of this, we may see a shift towards casting, which does not rely on continuous furnace use in the same way as glassblowing, alongside the future integration of renewable energy systems.
And finally…
Recently, it has been concerning to see institutions like the National Glass Centre in Sunderland closing, given their importance in supporting glass education and practice. More broadly, there appears to be a decline in infrastructure for glassmaking, both in the UK and internationally.
At the same time, there is clear interest from younger generations who want to engage with the material. The challenge now is to ensure that the right facilities and support systems exist to sustain and develop the field in the future — something that ultimately requires support at a political and institutional level.
Find out more about Antonis Koutouzis via his website or Instagram @antoniskoutouzis.
Main feature image: ‘Till We Meet Again’. Photo: David Williams.
As many of you know, the 2026 International Festival of Glass (IFOG) will be taking place in St Helens in Northwest England over the August Bank Holiday weekend (27-31 August), run by the Glass Art Society (GAS) for the first time. Here are more details about some of the glass-related activities that will be on offer as part of this great event, with the masterclass programme just announced, an exciting Contemporary Glass Society (CGS) members’ exhibition, and a Community Mosaic for visitors to contribute to over the long weekend.
CGS A Cabinet of Curiosities exhibition
The CGS IFOG exhibition will be held at The World of Glass under the theme ‘A Cabinet of Curiosities’, which replaces our regular ‘postcards’ exhibition. Members will be invited to submit works of up to 10cm deep by 10cm by 20cm, giving scope for ‘flat’ as well as three-dimensional work this time. Whether you are just starting out with glass or very experienced, you are welcome to submit your work, using any glass technique. As space is limited, you will need to apply for a place as this will be a curated exhibition.
As CGS Chair, Sarah Brown, notes, “Historically, Cabinets of Curiosities (or Wunderkammer) emerged in Europe during the sixteenth century as rooms or cabinets filled with unusual and fascinating objects collected from the natural world, art, science and exploration. These displays were designed to inspire wonder, spark conversation and celebrate the diversity of the world. We encourage artists to draw upon this rich tradition and their own studio collections, helping to fill our Cabinet of Curiosities with intriguing, playful and thought-provoking glass works.”
Applications are now open (until 21 June 2026) via Curatorspace at this link, where you can find out more details of how to enter.
Sign up for masterclasses
Masterclasses at IFOG will be led by experienced tutors, with techniques available ranging from fusing to flamework, and pate de verre to glass blowing. There will also be some suitable for complete beginners.
Already on masterclass lineup are tutors such as Opal Seabrook, who will be
sharing her distinctive fusing style, Brenda Page, who will help students incorporate
images into glass art, and Richard Wheater, who will be teaching neon
glass art. More information can be found on the GAS website now (www.glassart.org/ifog/), including costs, locations, class descriptions, and information on each tutor.
Community Mosaic
Another new aspect of this year’s event is a community glass mosaic project. Led by American glass artist Carrie Strope, the design is being developed in collaboration with local schools and groups. Visitors to IFOG will have a chance to contribute by laying individual pieces and the finished work will be a permanent addition to The World of Glass collection.
Alongside the significant British Glass Biennale exhibition, new this year is that jewellery will be included with beads as part of the International Bead and Jewellery Biennale, plus there will be an international exhibition for GAS members. Applications for these exhibitions have now closed. However, visitors to IFOG will be able to see hundreds of works of contemporary glass from makers in the UK and beyond showcased at The World of Glass and on display until the end of October.
Several organisations are providing awards for artists featured in the exhibitions, including the Guild of Glass Engravers, the British Society of Master Glass Painters, The Worshipful Company of Glaziers, the Bullseye Living Edge Award, The Worshipful Company of Glass Sellers, Warm Glass UK, and more.
There will be demonstrations, presentations, and a range of activities suitable for all ages. Demonstrations will be provided by London Glassblowing, Elliot Walker, and Mattia Salvadore, with more to be announced in due course.
Talks will cover glass art and the importance of glass to the local area. Local St Helens organisations, such as Buzz Hub, Heart of Glass, and the local libraries, are helping to develop ideas and plans. In addition, if you have ideas about a glassy activity or creative opportunity that can be part of the Festival, GAS is keen to hear from you!
Image: Yukiko Sugano demonstrating her flameworking technique at IFOG 2024.
Glass art is gaining recognition in the prestigious international Loewe Foundation Craft Prize 2026, with four glass artists among the 30 finalists this year.
They include Australians Liam Fleming and Kirstie Rea. Liam’s anamorphic glass sculpture is called ‘Patterns of Pressure’. It was made using the traditional Venetian glassblowing technique incalmo, encompassing hot glass mould-blowing and warm glass fusing to create geometric structures that are subjected to high heat in the kiln.
Liam Fleming’s ‘Patterns of Pressure’.
Kirstie’s ‘Repose 2’ (main image) is made from a single piece of glass cut and shaped using traditional tools before undergoing four kiln firings. Coloured powders were added during the first firing, followed by a second firing to corrugate the surface, a third to compress the corrugations, and a fourth the gently bend the sheet into its folded form.
‘Faun’s Flesh (Arena Rosada)’ by Maria Koshenkova from Denmark is made from blown, sculpted glass combined with vintage found glass. Its creation involved multiple blowing sessions, extended kiln firings, cold-working and silvering.
‘Faun’s Flesh (Arena Rosada)’ by Maria Koshenkova.
Japan’s Ayano Yoshizumi has created ‘ICON #2507 Group’, comprising ‘ICON #2507 No. 2 and ‘ICON #2304 No. 3’. These pieces, described as “three-dimensional canvases”, feature glass, acrylic paint and glitter. They were hand-blown into static moulds and then shaped and hot torched to give the impression of movement in the glass.
‘ICON #2507 No. 2 and ‘ICON #2304 No. 3’ by Ayano Yoshizumi.
The 30 finalists were selected from over 5,100 submissions from 133 countries and regions around the world.
The overall winner, who will receive a €50,000 award, will be announced on 12 May in Singapore. There will also be €5,000 for any works given a Special Mention.
An exhibition of all shortlisted works will open at the National Museum of Singapore on 13 May.
Find out more about all 30 finalists via this link.
Experience the magic of glass at the National Glass Centre (NGC) on 25 April 2026, where the Contemporary Glass Society (CGS) and NGC will be hosting an exciting day of demonstrations, try-it-yourself activities, glass techniques in action and glass art.
You will be able to have a go at various techniques, as well as watching artists in action. Loads of techniques will be showcased on the day, from glassblowing to waterjet cutting, and you even have a chance to try glass pyrography.
Also, the ‘The Graduates’ exhibition, showcasing work by artists who have studied in Sunderland over the years, will be on display – an experience not to be missed!
The actual events on the day will be finalised nearer the time, but expect collaboration, exploration and a celebration of the glass community.
There is a cafe on site for refreshments too!
So, come along and help us celebrate Glassmaking in Sunderland – it has been there for over 1300 years, and, with the closure of the NGC imminent, CGS would love to have a day of positivity and showcase the magic of glass!
This ‘Celebration of Glass in Sunderland’ is on from 10am to 4pm on Saturday 25 April 2026 at the iconic NGC on the banks of the River Wear. Address: Liberty Way, Sunderland, Tyne and Wear, SR6 0GL.
Tickets are: £20 for CGS Members; £15 for Student Members and £25 for General Admission.
Many of you will be aware of the work of Ian Hankey in the field of glass recycling, which began back in the early 2000s with an unusual request for a recreation of ancient glass from a materials scientist working at Imperial College in London. She – Dr Sarah Fearn – was investigating how to stop glass corrosion in some of the ancient glass goblets at the V&A Museum and needed authentically made glass to experiment with. She turned to Ian who was working over the road at the Royal College of Art.
Working with old recipes like the Venetian masters did resulted in a very workable glass and this piqued Ian’s interest in the possibilities for using these methods for upcycling glass today. The idea was to add plant ashes to broken up waste glass from sources that currently cannot be recycled, like windows and solar panels, saving them from landfill. Currently the melting point of these glasses is too high – at 1400-1600°C – and adding the natural materials reduces the melting point.
In due course Ian set up the Upcycled Glass Company and has been working from a studio at Brimpts Farm in Dartmoor, Devon, initially experimenting with bracken harvested on the farm to make bracken ash inspired by a Roman glass recipe.
In a subsequent collaboration, he has worked with Dr Katie Shanks from the Environment and Sustainability and Global Systems institutes at the University of Exeter to upcycle glass from solar panels into a special design of solar concentrator that could provide free power.
Now Ian, whose titles include Sustainable Craft Lecturer and Researcher, master glassmaker, founding father of Fab Lab South West, and Founder and Director of the Upcycled Glass Company C.I.C, has achieved proof of concept on the prototype solar concentrators and is handing his research and methods over to MAKE Southwest, a Devon-based educational charity and contemporary craft centre, to take the project forward.
MAKE Southwest has made a video of a presentation held at Brimpts Farm, called ‘Craft as the Catalyst for Environmental Innovation’, which includes an introduction from farm owner Andrew Bradford discussing how the farm has diversified over the years and was open to supporting Ian’s glass venture. This is followed by Dr Sarah Fearn and Ian Hankey going into a lot more detail about the venture and many of Ian’s other green recycling ideas.
You can watch the YouTube video (filmed by Jordan Kaye and Emily Woollin) via this link.
Image: Ian Hankey creating a goblet using an ancient Venetian glass recipe.
Washington state’s Museum of Glass in Tacoma has announced a major US$25 million renovation project, starting in Spring 2026.
The museum has been open for 25 years and hosts regular exhibitions, a permanent collection, artists’ residencies in its hot shop, plus educational programmes.
Now it needs to modernise, improve, and expand its gallery spaces to present a more thorough, interdisciplinary perspective on the art form, celebrate its pioneering artists, and exhibit more work from emerging and established artists.
A foundational component of this expansion is a new immersive gallery dedicated to the internationally renowned glass maestro Lino Tagliapietra. A collection of 175 of his works were recently gifted to the Museum by the artist, which will be the foundation of the display.
The Lino Tagliapietra Legacy Gallery will cover approximately 4,000 square feet and enable more than 50 pieces to be on view at any time. It will be the only permanent gallery in the US dedicated to Tagliapietra’s work across his career, from his roots in Murano, Italy, to a focus on the 45 transformative years he spent in the Pacific Northwest, where he inspired and mentored three generations of artists.
Museum of Glass Executive Director Debbie Lenk commented, “This project is essential for Museum of Glass. By expanding our galleries and upgrading critical infrastructure, we will strengthen the Museum for decades to come. The new state-of-the-art galleries will showcase exhibitions that highlight the story of glass art and artists from the Pacific Northwest, as well as works by artists worldwide. We are particularly excited to unveil a gallery celebrating the incredible legacy of Maestro artist Lino Tagliapietra.”
The work is expected to take six months to complete, and the non-gallery spaces will remain open during this time.
“Alongside the Lino Tagliapietra Legacy Gallery, our new space will give us new opportunities to showcase the Museum’s world-class collection and invite visitors into the still-evolving story of glass art. Behind-the-scenes improvements like lighting and HVAC are critical to the care of our growing collection and will create a dynamic backdrop for the artwork in our galleries,” said Museum of Glass Curator Katie Buckingham.
Image: Lino Tagliapietra demonstrating his glass talents at Museum of Glass, where he completed 19 residencies in the hot shop. Photo courtesy Museum of Glass.
What do you do when your children tell you there is too much glass art on display at home? US-based prolific glass artist, collector and entrepreneur Trish Duggan decided the answer was to open a museum. Linda Banks finds out more.
You are an artist, entrepreneur and philanthropist. What led you to start working with glass?
When I saw a sculpture that seemed to have so much energy reflecting off it, I asked what material was used to create it. The answer was glass! I became a collector of glass sculptures and was then asked if I wanted to see how these cast glass pieces were created. I was thrilled to have the opportunity and so mesmerised with what I imagined was molten lava that I asked if I could make a piece.
‘Just Visiting’ is an example of Trish Duggan’s fascination with UFOs.
What glass techniques have you used, and which do you prefer?
The technique in glass that I prefer is glass casting. I’m the only artist who carves a wood block, makes several prints and then presses that woodblock into sand or ground up olivine. Then I ladle the 2,100°F glass into that indentation after coating it with acetylene using a torch!
I also enjoy fusing four panels of glass together. They are then etched with various artistic themes and even quotes to inspire the observer. For example, in the museum I opened there is an entire wall full of fused glass panels of famous women with famous quotes.
‘Sealife’ was made with Trish’s daughter, Diana Duggan.
You realised your vision of founding the Imagine Museum of Contemporary Glass Art in Florida, USA. What drove this ambition and were there challenges along the way?
I opened Imagine Museum after I had adopted six children – most out of foster care – and my five boys told me I had too much glass in the house! I joked with them and said, “Well, ok, then I think I’ll have a museum!” They were rolling on the floor laughing and telling me what a wild mom I was. Two weeks later, I purchased an abandoned charter school and turned it into a contemporary glass museum. I’ve received the Tampa Bay Magazine “Museum of the Year” award for 2024 and for 2025!
‘Break Through’ by Trish Duggan.
Please tell us more about your creative approach. Do you draw your ideas out or dive straight in with the materials?
I spend time drawing every week! My mind is like a hurricane continuously full of artistic ideas. I work with an incredible team, including Sam Brewster and her daughters Casi and Brittany, and others!
What message(s) do you want to convey through your art?
I convey many messages through my glass art! I have an entire hallway of glass vases etched with the words serenity and beauty in 24 different languages. I truly believe that every single person from any different background can experience beauty and serenity!
‘Beauty’ vases saying the word ‘beauty’ in 24 languages.
What is your favourite tool or piece of equipment and why?
My favourite tool is the ladle for scooping and pouring the red-hot glass. In Sweden, where I collaborated with Bertil Vallien, the most famous cast glass artist, his team lifted the ladles up high in the air and clanked them together before casting!
Trish Duggan glass casting at Sigma Studio wearing her fireman’s mask.
Of course, I also love my Japanese carving tools that I began using in high school. My Japanese art teacher gave me a blue ribbon for all my woodblock prints. Now I have made 24 different flower prints and each has a blue glass window to match it.
Trish’s first woodblock print (made age 16) alongside her carving tools from Japan.
Do you have a favourite piece or collection you have made? Why is it your favourite?
‘Interstellar Astrophysicist’ wall panel.
My current favourite collection I’ve created is my 1,000 alien series, which is made in glow-in-the-dark uranium glass! The former head of the Department of Defense from Canada, Paul Hellyer, stated publicly that “we’ve known that four races of aliens have been visiting Earth for thousands of years”. I created four races of aliens! I’ve also done 70 black-and-white fused and etched glass panels of UFOs. It’s time for DISCLOSURE! I have had an experience with a UFO!
‘Unfortunate Accident’ features space and UFO themes.
Where do you show and sell your work?
I show and sell my glass creations at my museum. I also show my work in the US Embassy in New Delhi, India, and several buildings in Washington DC.
Do you have a career highlight?
The highlight of my artistic career was when my boys told me I had too much glass in the house and I joked with them about opening a museum. Then, two weeks later, I signed on the line at a bank and purchased that charter school that had closed. I turned it into a unique and thrilling museum highlighting more than 150 American glass artists. The purpose is to uplift and inspire all who come for a visit. The most exciting aspect of the museum project was that I was able to design it myself and choose the stunning collection for others to enjoy.
Trish Duggan with artwork ‘Star Gate Exit Portal Planet Earth’.
Where is your creative practice heading next?
My creativity is never ending! I am overloaded with spectacular ideas. I am currently working on a series of Presidents and American icons. I’m also making a series of angels. After that, I will make a series of glass cubes with flowers, leaves and vines for a show in Costa Rica where we will be building the Peace Museum dedicated to Nobel Peace Prize winners. My goal is to inspire people to think about how they can create peace in the world by starting with creating peace in their own lives!
‘Liberty Eagle’ is part of a recent series featuring American icons.
And finally…
From my personal viewpoint, I think it is extremely important for each person to find their creative expression. One of my favourite quotes is from Albert Einstein, who stated, “Imagination is more important than knowledge”. Let’s all imagine a future full of compassion, understanding, love and peace!
Trish Duggan carving a woodblock with examples of her glass art in the background.
Find out more about Trish Duggan and her artistic practice via her website.
Main feature image: ‘Goddess of Compassion Wall’ by Trish Duggan. All images courtesy of the artist.
Sarah Brown, Chair of the Contemporary Glass Society (CGS), explains why CGS is supporting the new facility for glassmaking in Sunderland.
You may be aware of the current situation for glassmaking in Sunderland, and the planned closure of the National Glass Centre (NGC), which has been heavily disputed since it was announced.
Glassmaking has been in Sunderland for over 1350 years and, as an important part of culture in the Northeast of England, we believe that there should be the facilities for this key part of the area’s heritage to continue. Many, many well-known artists and glassmakers have studied, learned and practised their craft here for so many years, and a facility needs to be available for this to continue in the years ahead.
We are supporting this open letter (see link below) for Glassworks: Sunderland, as, although none of the 204 signatories agrees with the closure of NGC, it is important that the possibility of glassmaking continuing in Sunderland is supported.
This new facility has the opportunity to secure considerable funding, which would enable glassmaking to continue in the near future. With the planned closure of the NGC moving ever nearer, in the face of such uncertainty, the artists, makers and educators in Sunderland need the support to continue their practice going forward, and a viable option has been proposed.
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