Artists with a minimum of seven years of active career experience post university, who are working with glass alone or in combination with other materials, are invited to propose their work for a new, biennial group exhibition in Norway called ‘Still in Love’.
Taking place between September and November 2024, the exhibition is being organised and curated by S12 Gallery and Workshop with Northing Space in Bergen and will take place in both venues. Installation and video works will also be considered.
In addition, one of the selected artists will be invited for a residency at S12 to create a new work for the exhibition.
Exhibition submission requirements:
Your proposal should be in English, in one PDF document of maximum 10MB including:
Photo of proposed work, maximum two works
Information about materials used and dimensions
Artist statement relating to the work
Biography, CV, and a link to a webpage, Instagram, or other relevant information
Confirmation about whether you would like to be considered for a residency at S12 Gallery and Workshop. This should include a brief proposal of what you would like to achieve during the residency.
Submit your proposal via email: proposal@s12.no by the deadline of 2 June 2024.
Selected works must be received in Bergen, Norway, by 20 August 2024.
S12 is a non-profit open access studio and gallery specialising in glass art and design. It runs an international Artist in Residence programme, focusing on those who like to experiment with glass in all its diversity, and in combination with other materials.
Northing Space is a multifunctional cultural space in downtown Bergen, Norway, which promotes and mediates contemporary East Asian art and culture in Bergen, through exhibitions and cultural events.
As she steps from education into the world of contemporary glass, Jiayun Ding describes her artworks and their inspirations, some of which have been selected for international exhibitions. Linda Banks finds out more.
You are currently completing your studies at the University of Sunderland. What led you to start working with glass?
As a child, I was always drawn to transparent objects and had a glass orb paperweight in my collection of trinkets. One day, while watching an online video on glassblowing, specifically crafting a Venetian goblet, something clicked inside me. It was an immediate realisation that I wanted to pursue and explore glass for the rest of my life.
What glass techniques have you used and which do you prefer?
I’ve utilised various glass techniques, including enamel printing, slumping, kiln work, glassblowing, hot sculpting, bit work, hot assembly, flameworking, cold working, water jet cutting, twisted cane pulling and cup casing. However, my passion lies with glassblowing, as it’s where my journey with glass first started.
What is your creative approach? Do you draw your ideas out or dive straight in with the materials?
I would say it depends on the scale of the work; if it’s a complex project, with many layers and aspects to be considered, I will draw out various ideas slowly by a process of experimentation, using a range of materials and styles. If it’s simply creating one-off pieces, I experiment with the material and colour application in a more playful way.
‘Ghostly dreams’ pays homage to beginner glass artists and their dreams of having their own tools to use when creating their work. The glass diamond shears are moveable to function like real tools. Photo: Jianyun Ding.
You came to the UK from China to study. How was that experience and has it influenced the projects you have you created?
I was definitely affected by culture shock, in terms of both the environment and social interactions. It was hard at first, but, with the help of new friends, I’ve managed to find my place in the UK. This transfer of environments hasn’t particularly influenced my artwork, as my inspiration comes from other aspects of life.
What message(s) do you want to convey through your art?
Through my art, I seek to explore the intricate layers of our emotions, the subtle balance between internal struggles and the outside world. I also investigate the delicate relationship between humanity and the environment.
What is your favourite tool or piece of equipment and why? It has to be the diamond shears, particularly the Big Combo shears. They hold significance in my professional art practice, symbolising a milestone in my work and personal style. The glass diamond shears I made are emblematic of my identity as an individual artist, contributing to my recognisable artistic signature.
Do you have a favourite piece you have made? Why is it your favourite?
My favourite piece is my BA degree show installation, titled, ‘Please Don’t Doubt Your Faith (The Holy Relics)’. This work serves as a meta-reference to glassmaking while subtly expressing internal doubt. It features a complete set of basic glassblowing tools crafted as relics. I chose to work primarily in black, to convey formality, mystery and an aura of evil, with a gradient from black to fuchsia for the tentacles. The tentacles represent inner struggles and crawl on the plinth with different gestures, symbolising attempts to steal or sabotage the ‘holy relics’. This artwork reflects the journey of self-doubt experienced by artists, yet it also resonates with viewers who have battled their own dark thoughts and emerged stronger.
‘Don’t doubt your faith (The holy relics)’ elevates glassmaking tools to the status of religious icons amidst the tentacles of self doubt for the artist. Photo: Jianyun Ding.
This work achieved acclaim when it was shown in Prague, Czech Republic, at the Stanislav Libensky award exhibition for young artists in 2023 and was acquired for the permanent collection of the Prague Gallery of Czech Glass.
Some of the exquisite vessels from ‘Please don’t doubt your faith (The holy relics)’ . Photo: Dave Williams.
You have had your work selected for this year’s British Glass Biennale. Tell us about that piece.
The artwork ‘Refined relic’ has a humble yet captivating presence, with a single artefact enveloped in many metallic hues. It had to be created with care as it underwent the brutality of the glassblowing process. It levitates with an unnatural aura within a transparent dome, giving the feeling of being held by a divine force or entity. The piece exudes a bold sense of opulence, symbolising not only the artist’s dedication to the craft and how much it means on a personal level, but also the journey to find balance with the expectation to achieve a gold standard in each piece of work we artists make on a regular basis.
‘Refined relic’ has been selected for the British Glass Biennale. Photo: Brynn Hill.Detail featuring diamond shears in ‘Refined relic’. Photo: Jianyun Ding.
Where is your glass practice heading next?
As I conclude my education in the UK, my glass practice is shifting towards the glass industry, where I’ll be involved in assisting artists, engaging the public in glassmaking, or working in production.
Professionally, I’ll build on my established personal style, exploring new possibilities and unexpected outcomes in my work. I aim to participate in competitions, exhibitions and artist residencies both within and outside the UK, utilising these opportunities to showcase my evolving artistry.
And finally…
I’m eager to explore public installations, with the aim of either providing solace or drawing attention to specific social issues. My goal is to make meaningful contributions and statements to both the public and Society at large through my art.
About the artist
Jianyun Ding working on her glass art.
Jiayun Ding is a passionate glass artist and member of CGS, dedicated to pushing the boundaries of traditional glassblowing. Holding a first class honours BA degree from the University of Sunderland, Jiayun’s journey in glass has been enriched by intensive courses at the Corning Museum of Glass, US, where she explored Venetian glassblowing techniques and medieval glass.
With a solid foundation in Visual Communication Design from the Communication University of China, Jiayun brings a unique perspective to her art practice. Her professional journey includes internships at glass studios including Bristol Blue Glass and London Glassblowing.
Main feature image: ‘Is there any free will in the communication?’ explores the theme of the mental health of contemporary and ineffective social communication. Photo: Dave Williams.
Ten years on from their last exhibition at Germany’s Glasmuseum Lette, glass artists from Poland’s Eugeniusz Geppert Academy of Art and Design in Wrocław will be showing their glass art there once again this summer.
The invitation was extended to lecturers, graduates and students from the Academy following Glasmuseum Lette’s visit there in spring 2023. The glass department there features a state-of-the-art creative workshop in a spacious new building, equipped with a broad array of technical equipment for training students in glass, including hot and cold methods like glassblowing, fusing, lampwork, glass painting, cutting, engraving, architectural glass and restoration.
Experienced and specialist teaching staff who collaborate with international experts ensure a high level of instruction. The students have a unique opportunity to engage with glass in an interdisciplinary fashion, gaining new perspectives that help them to find their own artistic path.
The artists from Poland will be presenting around 50 works, all demonstrating accomplished use of the various glassmaking techniques, as well as breaking with tradition to create something new. Their works are abstract, sculptural, narrative, ironic or moving. Each piece makes its own personal statement, displaying a unique character, style, and form in glass.
The exhibition takes place from 8 June to 20 October 2024 at Glasmuseum Lette, Letter Berg 38, 48653 Coesfeld-Lette, Germany. Opening times: Wednesdays and Saturdays 2-5pm,Sundays 11am-5pm. www.glasmuseum-lette.de
Image: ‘Wild Hive (1)’, made by Justyna Żak in 2022, has been selected for the show. Photo by the artist.
The Glass Hub, based in Wiltshire, UK, is offering a 10-month internship opportunity, which will run from September 2024 to July 2025. This educational work placement is suitable for individuals looking to gain experience in glassmaking and glass education, alongside developing their own work in a well-equipped glass studio.
The successful applicant will experience a variety of roles, including ‘glass technician’ and ‘glass teaching assistant’. They will be trained in the operation and maintenance of glassmaking equipment and gain real-world experience in the operation of a busy glass school.
Applicants should have a grounding in glass, be interested in developing new glass techniques, as well as being motivated to make their own work to supplement their income. The successful person will be given studio time to practise and develop their own work (negotiable depending on hours in training). They will also have health and safety training and the opportunity to attend specialist glassmaking courses for personal creative development throughout their internship.
As part of the training, the intern can expect to handle many day-to-day responsibilities such as equipment maintenance and cleaning. They will be dealing with the public and should be enthusiastic about engaging with people.
Applicants should have a strong work ethic and should be self-motivated, both on and off the clock. The successful intern will be encouraged to participate in classes either as a teacher, teaching assistant or student, depending on interests and abilities.
This internship may suit students who have completed their undergraduate study in glass (BA) and are looking to gain professional studio experience while developing their own work.
Location: The Glass Hub is at Stowford Manor Farm, Wingfield, Wilshire BA14 9LH, UK
Remuneration is £450 per calendar month, pro-rata at the statutory minimum wage, plus use of the glass studio and equipment for personal use (hours negotiable).
Accommodation is not included, but assistance in finding suitable accommodation can be given.
Requirements
Glassmaking experience or a qualification in glassmaking (or related craft/art discipline).
No formal qualifications are required, but an interest in learning new skills and a passion for glass is essential
Fluent English speaking
Able to lift up to 25kg
A full driving licence and car are essential as the school is in a rural location.
Applicants should:
Be able to work in both a hot glass OR kiln room environment
Be reliable and punctual
Be able to work as part of a team
Have a positive attitude and strong work ethic
Enjoy working with their hands
Take instruction well
Have good communication skills
Be able to work in a public-facing environment
Future prospects
Potential for progression to further employment as glass technician/tutor for the right candidate
Exit interview and feedback from the employer to build on apprentice’s CV.
You will then need to email a short CV/Artist’s Statement and up to 6 images of your work to: info@theglasshub.co.uk . You will receive a confirmation of your application or a request for further details within 72 hours.
North Norfolk’s annual Holt Festival is inviting submissions for a range of art prizes. The Festival brings together music, comedy, literary events and an art programme each July.
Among the art prizes on offer is the Charlotte Fraser Ceramics & Glass Prize, worth £1,000. Entries must be made of ceramic or glass and measure no more than 58cm in any direction. Judging will be by Charlotte Fraser, who has awarded scholarships and bursaries to postgraduate students at the Royal College of Art and Royal College of Music for many years, along with artist, academic and arts adviser, Prof Polly Bins.
Other art prizes on offer are The Sir John Hurt Art Prize (£2,000), The Sworders Prize for Emerging Artists aged 19-23 (£750 and a commission-free Exhibition at The Fairhurst Gallery in Norwich), plus The Sworders Prize for Young Artists aged 16-19 (£500). Entries for the Emerging and Young Artists Prizes are automatically entered (free of charge) into the Sir John Hurt Art Prize.
All entries must be submitted online, from which a shortlist for each prize will be selected. The selected works will be included in the Shortlist Exhibition, from which the judges choose the winners.
The closing date for entries is midnight on Sunday 16 June 2024. The shortlist will be announced by midnight on Sunday 23 June. Holt Festival will charge 30% (25%+VAT) commission for works sold in the Shortlist Exhibition.
The Shortlist Exhibition opens at 6pm on Sunday 14 July at The Church Hall, Church Street in Holt, near to the Festival exhibition ‘German Expressionists & The Third Reich’ (opens 10am Saturday 13 July) and the Festival’s outreach programme exhibition (opens 10.30am Saturday 20 July).
Stourbridge Glass Museum is to receive £250,000 from Arts Council England’s Capital Investment Programme. This will enable it to invest in new solar panels, air source heating, LED light replacements and innovative glassmaking equipment, in pursuit of achieving net zero across its operations.
Awards from this programme go towards building works and the purchase of equipment and other assets to improve access, seize on technological opportunities and reduce environmental impact.
After a devastating year, which left the Museum with energy bills that were treble where they are now, the Museum has pushed forward with its environmental plans, including artists’ demonstrations.
The team is using eco-friendly marketing materials, exhibition screens and recyclable panels, as well as hosting a shop that utilises pre-loved glass objects. The next phase will see old radiators replaced, solar panels installed, new LED lights in the gallery spaces and eco-friendly equipment installed for glassmaking demonstrations.
Museum Director Alexander Goodger commented, “We are extremely grateful to Arts Council England for this funding, which will enable us to forge ahead with becoming more eco-friendly, efficient and innovative, through our exhibitions and artworks, through the running of the museum and by teaming up with our artists-in-residence. It’s going to be an amazing year!”
Stourbridge Glass Museum has six artists-in-residence, a team of dedicated volunteers, and has a programme showcasing the work of contemporary glass artists from the UK and internationally. It also houses one of the best collections of antique glass in the world, featuring the 400-year glassmaking history in Stourbridge.
Shipley Art Gallery is hosting the annual second-year student exhibition of work from the University of Sunderland’s Glass and Ceramics course, entitled ‘Dry Run’.
Participants include Kim Bardle, Sean Barnes, Duy Minh Dang, Cassie Kaszefko, Rachel McKenna, Penny Riley-Smith, Kerry Roffe, Suzanne Smith and Vivien Szakacs.
The show launches with an opening night on 24 May from 6-8pm and then runs until 8 June 2024.
The Gallery’s opening times are Tuesday to Friday 10am-4pm, Saturdays 10am-5pm (closed Sundays and Mondays).
Has your creative group done something you are really proud of during the past year? If so, it is time to enter the Creative Lives Awards – an annual celebration of volunteer-led creativity across the UK and Ireland.
Groups of all sizes and art/craft forms are eligible to enter the Awards, as long as there is considerable volunteer involvement in both the planning and activity of the group.
The Awards aim to shine a spotlight on creative groups across the UK and Ireland that enhance their communities and make people’s lives better. The Awards have been running since 2010.
The organisers say that previous winners have found being shortlisted or winning a Creative Lives Award has had a significant impact on group morale; proved valuable for funding applications and boosted their profile in the local media.
The submission deadline is Monday 13 May 2024.
A winner and runner-up from each nation will be chosen by a panel of judges by the end of July 2024, with an expenses-paid awards ceremony in London on 26 September 2024.
As part of its Members’ Day, the Society of Designer Craftsmen (SDC) is inviting members and non-members to a lunch and discussion on ‘Digital Technology in Craft’ in London on 11 May 2024.
Panellists Jonathan Keep, Jack Puzey, Beth Somerville and Angela Thwaites will present their work and reveal their approaches to blending digital technology with traditional techniques.
SDC will be asking what part digital technology plays in craft and what craftspeople think about AI. This event will also be an opportunity for participants to share how they use digital tools in their own practice, or, if they do not, why they do not. The SDC eagerly anticipates a thought-provoking discussion on the evolving definition of craft in the digital age.
Craft is often defined as a practice inextricably linked to the hand of the maker, but innovative digital technologies are changing and refining that definition, to astounding effect.
When: Saturday 11 May 2024, 12.30pm-5pm Where: Art Workers’ Guild, 6 Queen Square, London WC1N 3AT
Agenda: 12.30pm-1.30pm: Lunch and Social 1.30pm-4.30pm: Members’ Day – Digital Technology in Craft Presentations by Jonathan Keep, Jack Puzey, Beth Somerville and Angela Thwaites, working in textiles, glass and ceramics, followed by questions and discussion.
Booking is essential via this link, for a suggested donation of £8 (non-members) to help cover the cost of the event.
Image: Glass artist Angela Thwaites will be one of the speakers.
Glass Network magazine editor, Linda Banks, highlights some of the content in the upcoming print magazine, which will be arriving through members’ doors soon
Whatever stage we are at with our glassmaking – from established professional to just starting out – it is always fascinating to hear about the people who have made a successful career through working with this fabulous material. What are those magic ingredients that come together to allow them to grow a thriving business?
The upcoming May 2024 edition #84 of the Contemporary Glass Society’s (CGS) magazine Glass Networkseeks to uncover the secrets through a series of articles focusing on some of the enduring names in contemporary glass – from US stars like Dale Chihuly and Paul Stankard to leading lights in British glass, such as Effie Burns.
The enduring traits among those who have ‘made it’ include dedication to perfecting their craft, gritty determination in the face of adversity, collaboration, vision and no small amount of talent.
Whether you are a business owner or a hobbyist, I hope readers of this issue will find these stories uplifting and inspirational.
We also feature a preview of the final British Glass Biennale/International Festival of Glass/Bead Biennale under the stewardship of the Ruskin Mill Land Trust at The Glasshouse in Stourbridge, West Midlands, this summer, before the Glass Art Society takes the reins for the 2026 event.
As usual, there will be many glass-focused events around the area during the exhibition period (23 August-28 September 2024) and CGS will have its regular display of members’ glass postcards for sale, plus the ‘New Horizons’ exhibition (also previewed in the magazine).
Please look out for books of raffle tickets in your envelope, with the opportunity to win glass prizes by some big names in contemporary glass, including Peter Layton, Max Jacquard, Teign Valley Glass, Gillies Jones, Simon Moore and many more. CGS hopes you will buy them yourself or sell them to friends and family, to help raise funds that the Board will use for projects and exhibitions to benefit our members.
Glass Network print magazine is sent to all members of CGS. If you are not yet a member and would like to join, why not sign up via this link?
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