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Glassworks: Sunderland planning application submitted

Post author By Linda Banks, Editor
Post date July 28, 2026

After months of design work and consultation with artists, makers and creative businesses, Sunderland City Council has received an application to develop the historic former Peter Smith Antiques building in Sunniside into Glassworks: Sunderland, a vibrant hub for glassmaking, ceramics and creative production.

This new project was launched in response to the final closure of the iconic National Glass Centre (NGC) on 31 July 2026, which was strongly criticised and campaigned against by the glass and wider community. The NGC’s owner, the University of Sunderland, cited structural issues, energy inefficiency and a multi-million pound repair bill as reasons that the NGC was no longer financially viable.

Sunderland Culture’s leadership team has said that Glassworks: Sunderland is not a like-for-like replacement for the NGC, but a rescue intervention designed to save the city’s 1,300-year-old glassmaking heritage from disappearing. There will be no café or galleries like the NGC had, but a strong focus on a maker ecosystem.

If planning permission is approved (a formal decision is expected in early autumn 2026), Glassworks: Sunderland will provide specialist facilities, workspaces, learning opportunities and business support for glassmakers and creative enterprises.

The planning application reveals:

The public will be able to access the ground and first floor for classes and activities, but the building is primarily conceived as a space for glassmakers;

Each discipline of glassmaking and ceramics that was available at the NGC will be retained in the new facility;

The building has been designed with equitable access throughout with a lift reaching all floors;

The design retains the historic fabric of the building, with exposed brick, stone staircases and original features from the 19th century Durham and Sunderland County Institute for the Blind;

The upper floors are available for flexible creative offices and maker studios – more studio space is proposed than was available at the NGC;

It will have an energy efficient and decarbonising layout backed by a dedicated on-site substation;

Heat produced from the 1,150^oC furnaces will be recovered to warm the co-working and public spaces.

Tom Billington, Chair of Sunderland Culture, which submitted the planning application, explained: “The submission of our application is a significant milestone for Glassworks: Sunderland and for the ongoing transformation of Sunniside.

“It’s important to stress that local, regional and national artists, makers and creative businesses have played a central role in shaping these proposals through workshops, site visits and surveys. Their involvement has helped ensure the project responds directly to the needs of Sunderland’s creative community while building on the city’s internationally recognised glassmaking heritage.

“The progress made to date is hugely encouraging and demonstrates the ambition, partnership and commitment that exists to make this vision for glassmaking a reality.”

Sunderland-based glass artist Helen Gordon said: “The plans for Glassworks are well considered. They include the vital specialist equipment that glass artists like me need to continue producing work and upholding Sunderland’s global reputation for contemporary glass. By providing a sustainable home for glass and ceramic artists, the facility will help safeguard specialist skills, support local creative industries, and ensure that Sunderland remains a leading centre for contemporary glass for future generations.”

If approved, Glassworks: Sunderland is scheduled to open in 2028, leaving a two-year gap between the closure of the NGC and the launch of the new facilities. In the interim, Sunderland Culture is establishing a transition programme including commissions, business support, residencies, bursaries, commissions, temporary workspaces and activities to maintain artist and audience engagement.

A grant of £5 million towards the project will come from the Department for Culture, Media and Sport’s (DCMS) Cultural Development Fund, which is administered by Arts Council England. Sunderland Culture is leading fundraising to secure match funding to realise the project.

The Contemporary Glass Society supports the development of Glassworks: Sunderland, to keep the possibility of glassmaking alive in Sunderland, as noted in an open letter, but none of the 204 signatories of that letter agreed with the closure of the NGC that brought this situation about.

See the architect-designed images of the proposed Glassworks: Sunderland via Sunderland Culture.

Image: The former Peter Smith Antiques building where Glassworks: Sunderland will be situated if planning permission is granted.

British Glass Biennale 2026 artists announced for IFOG

Post author By Linda Banks, Editor
Post date July 27, 2026

A total of 82 artists has been selected for the British Glass Biennale 2026 at this year’s International Festival of Glass.

Held at The World of Glass in St Helens, the Biennale will showcase the finest work being made in glass across Britain today, from bold, sculptural statements to delicate, technically intricate pieces, representing the full breadth of what is possible in this endlessly versatile material.

The exhibition opens to the public on Friday 28 August 2026 and runs until 1 November 2026, giving visitors plenty of opportunity to experience one of the most significant events in the British art calendar.

The Biennale is a juried exhibition, open to artists who are British nationals or who are living and working in the UK. Submissions were assessed by a distinguished international panel, including Tami Landis, Curator of Postwar and Contemporary Glass at the Corning Museum of Glass; Jeffrey Sarmiento, Senior Lecturer in the School of Art and Design at Australian National University; and established and awarded UK glass artist Louis Thompson, who has worked with glass independently and collaboratively for over 30 years.

All works in the exhibition are available to purchase, making this a unique opportunity for collectors, institutions, and first-time buyers to acquire exceptional contemporary glass art.

All participating artists have the chance to be selected for the prestigious ‘Best in Show’ award, which is a £3,000 prize. The winner will be announced at a special opening ceremony in St Helens in August.

Participating artists

Anthony Amoako Atttah, Grace Ayson, Emma Baker, Lisa Bate, Heike Brachlow, Mils Bridgewater, Sarah Brown, Steve Brown, Edmond Byrne, Phillipa Candy, Keeryong Choi, Terri Colledge, Mary Corkery, Jeff Cunningham, Rachel Darbourne, Calum Dawes, Christopher Day, James Devereux, Jiayun Ding, Celia Dowson, Sally Fawkes, Elena Fleury-Rojo, Jahday Ford, Zoe Garner, Hannah Gibson, Stephen Gillies, Emma Goring, Lulu Harrison, Crispian Heath, Flora Jamieson, Kate Jones, Joshua Kerley, Hassina Khan, Aria Kiani, Alison Kinnaird, Laura Kriefman, Isabella Kullmann, Monette Larsen, Jon Lewis, Julie Light, Alison Lowry, Geoffrey Mann, Joanna Manousis, Guy Marshall-Brown, Hannah Masi, James Maskrey, Gayle Matthias, Joanne Mitchell, Tracy Nicholls, Michele Oberdieck, Marzena Ostromecka, Marged Owain, Helen Pailing, Jade Pinnell, Stacey Poultney, Verity Pulford, Georgia Redpath, Liam Reeves, Colin Reid, Helen Restorick, Bruno Romanelli, Layne Rowe, Sally Scott, Dian Shi, Amanda Simmons, Elizabeth Sinkova, Suzie Smith, Andrea Spencer, Madison Sprague, Helen Stokes, Alison Stott, Ayako Tani, Angela Thwaites, Jane Vincent, Elliot Walker, Annie Wasdell, Zac Weinberg, Sarah Wiberley, Bethany Wood, Marie Worre Hastrup Holm, Jeff Zimmer and Maria Zulueta.

In addition to the British Glass Biennale 2026, The World of Glass will be hosting the International Bead and Jewellery Biennale, celebrating wearable art at the intersection of glass, jewellery and contemporary craft.

It will also showcase the work of selected Contemporary Glass Society members in the ‘A Cabinet of Curiosities’ exhibition, with pieces in 2D and 3D measuring up to 20 x 10 x 10cm. The show runs from 27 August to 31 October 2026 and includes the creations of makers at all stages of their glassmaking careers in a wide range of techniques. All artworks will be for sale at reasonable prices.

In addition, new organiser of the International Festival of Glass 2026, the Glass Art Society (GAS), has selected work from members around the world for its International Member Exhibition, so visitors will also be able to see glass art from countries including Japan, Mexico, Norway, Australia, Uruguay and Ireland. This show runs from 28 August to 1 November 2026.

The World of Glass will also host live glassmaking demonstrations, hands-on workshops, family activities, community art projects and more. These core activities of the International Festival of Glass 2026 take place over the August Bank Holiday weekend (28-31 August 2026).

The exhibitions are free to visit.

Prior to the International Festival of Glass, artists can sign up for a range of Masterclasses. Find out more details here.

The World of Glass is at Chalon Way E, St Helens WA10 1BX, UK. Check the website for opening days/times.

CRACKED exhibition confronts barriers to glass artists

Post author By Linda Banks, Editor
Post date July 15, 2026

An artist-led exhibition at Street and a Half in St Helens will take place as a satellite event to the International Festival of Glass (27-31 August 2026). The show, ‘CRACKED: A Contemporary Glass Exhibition Beyond Tradition’ examines the gap between St Helens’ world-famous glass heritage and the barriers facing artists who want to work with the material today.

The exhibition presents the work of six artists (Amber Hahn, Gee Collins, Liam Cosford, John Carney, Mali Non and Lucy Evans) who were brought together as part of Gee’s research (funded by Developing Your Creative Practice, Arts Council England) that focused on understanding curation and fabrication of contemporary sculpture, alongside learning more about where grassroots artists fit in to St Helens’ industrial heritage.

Over a 12-month period, Gee organised peer sharing sessions, with the artists meeting online as well as visiting Frieze art fair, Pilkington Glass Factory, The World of Glass, Stourbridge Glass Museum and Sunderland Glass Centre. They also took part in workshops on stained glass, glass blowing, and lamp work.

Liam Cosford (Southend-on-Sea) uses glass engraving and cutting to explore interconnectedness through ‘crud’. With glass acting as a storage medium for dirt and grime, these marks become a record of a moment that is so often cleaned away, now forever etched upon the surface. Photo courtesy of the artist.

Their artworks take a playful approach to reflecting both the possibilities of glass and the practical barriers surrounding it: the cost of specialist facilities, the technical knowledge required to work safely, the energy involved in heating and forming the material and the limited opportunities available for independent experimentation. For example, the lack of access to professional lighting means an artist includes lights within their sculptures, or an artist purposefully includes dirt and fingerprints within a glass work that those used to working with glass try to buff out.

The artists have approached glass through cold engraving, computer-generated textures, industrial float-glass sheets, traditional vessels and experimental sculptural processes as their exhibits address what is needed to ensure that the area’s industrial heritage can support new creative practice.

They highlight that St Helens helped transform the way glass is produced around the world, continues to manufacture it at an industrial scale and is now home to major research into the future of low-carbon glassmaking. Yet, for independent artists living and working in the region, glass remains one of the hardest materials to access.

Blown glass vessels by Amber Hahn (London). Amber uses glassblowing and writing to explore sensory experience and embodied relationships with materials and environments. Photo: Sam Sweet.

They explain that CRACKED begins with a contradiction at the heart of contemporary glassmaking. St Helens helped make high-quality glass available across the world. The float-glass process developed in the town transformed the manufacture of windows, buildings and vehicles and became an international industry standard. However, access to industrial infrastructure is not the same as access for artists. Large-scale factories and research facilities are designed for commercial manufacturing and technical trials. Independent artists need something different: affordable workspace, specialist equipment, practical guidance, time to experiment and the freedom to make mistakes.

St Helens-based Lucy Evans said, “Since graduating, I’ve encountered several barriers when trying to access the glass industry. Being a part of an exhibition that is putting a spotlight on the medium is incredibly exciting to me and gives me the rare chance to showcase my work in a glass-focused environment.”

‘A Younger You and a Younger Me’ by Lucy Evans uses slumped float glass. Photo: Lucy Evans.

Skills once acquired through large workplaces and passed between generations are now more likely to be encountered through heritage organisations, education, limited studio opportunities or short-term cultural programmes.

CRACKED considers what is lost when a material remains central to the identity of a place but becomes distant from the daily lives of many of the people who live there.

It also asks a wider question relevant to former industrial towns across the UK: can industrial heritage remain alive without giving new generations meaningful opportunities to work with it?

The exhibition creates space to discuss access, labour, experimentation and the conditions under which contemporary glass art is made. The group is using this to garner support and raise funds for an emerging glass apprenticeship, which would provide a young artist from the area with funds to access a glass hotshop and undertake important training.

Rather than presenting St Helens’ glass history as something finished, CRACKED connects that history to the future. The artists’ work considers how traditional craft can sit alongside digital processes, industrial materials and contemporary sculpture – and how glass can be understood not only as a beautiful or precious material, but as something shaped by labour, technology, class, energy and place.

CRACKED is produced by Tobias Ferguson, with support from Artist-Led St Helens. He has created a temporary structure and design lighting around the artworks. This custom space will highlight and navigate the barriers to exhibiting glass work at a grassroots level.

The exhibition is free to visit and takes place from 27-31 August 2026 (10am-4pm). There is a talk and artist tour (also free but spaces are limited) on Friday 28 August (12-3pm), titled ‘From Magic to Industry’, plus a launch event that evening (6-9pm).

Venue: Street and a Half, Haydock St, St Helens WA10 1DD.

Further details available via this link.

Renaissance man

Post author By Linda Banks, Editor
Post date July 9, 2026

Glass artist Stacey Poultney talks about the evolution of his practice and his aspirations to make brutalist-inspired, kinetic pieces, drawing on his varied craft and engineering skills.

Glass has been a lifelong passion of mine, with stained glass being my first and most direct way of working creatively with the material. While I continue to undertake select stained glass and dalle de verre projects within my personal practice, my focus is mainly on producing three-dimensional glass, an area that has drawn my interest throughout my career. I strongly believe in the importance of recontextualising stained glass, or aspects of it, in order to preserve these skills and maintain their relevance today.

‘Untltled’ artwork pushing the boundaries of glass and mixed media.

My knowledge of flat glass, together with bonding and coldworking techniques, enables me to construct layered sculptures that explore depth and structure. These approaches are central to the approach to my latest body of work. My glass process is supported by my skills in mechanical engineering, metalworking, machining, and woodworking, which play a key role in how the works are built and presented.

Detail of ‘Urban Echoes’ showing the layered glass effect.

The current format of my work is massively rewarding, as I am progressively enhancing the scale and complexity of each completed glass work in combination with materials commonly found in industrial settings. Utilising my broad skill set, I have begun fabricating systems that facilitate the transition from static glass works to automated installations, whether for gallery display or exterior spaces.

An untitled wall piece exemplifying Stacey’s industrial influences.

My work draws inspiration from graffiti culture, urban decay, brutalist architecture, and industrial design. I am particularly interested in the contrast between rigid, repetitive structures and the unpredictable patterns of decay. Float glass, commonly used in architectural glazing, forms the foundation of my latest work and is chosen for its subtle tint and uniformity.

Design process

I begin every project by mentally resolving 3D challenges, often visualising the finished glass piece in its individual components before any physical work begins. This process is supported by spending hours producing complex, geometric hand drawings. My drawings rarely resemble the final glass piece, but they allow me the time to mentally unpack and refine ideas.

An example of a drawn design for ‘Together in Geometric Dreams’.

To maintain precision throughout the making process, I produce detailed technical layouts and 2D plans that incorporate the fixings and enclosures integral to the presentation of my work. I enjoy working to fine tolerances and do not compromise on quality. I also design and build project-specific jigs to support complex bonding processes and facilitate accurate cold-working at precise angles. These bespoke tools enable me to achieve consistent, repetitive forms within a single piece, a technical challenge I particularly enjoy.

Another design idea for ‘Together in Geometric Dreams’.

Glass offers a wide range of optical qualities, and I use these intentionally by controlling opacity throughout the material rather than relying solely on surface finishes. Drawing on my background in stained glass, I kiln-fire silver stain and glass paint across multiple layers to introduce controlled colour and varying levels of opacity. Each firing is carefully managed to minimise surface distortion and texture, ensuring the accuracy required for strong, tightly bonded laminations.

Detail of ‘Urban Echoes’.

Rather than accepting the traditional high gloss finish associated with glass, I use surface treatments to shape how the work is experienced. For example, a large glass cube may be finished to 360 grit on five faces to obscure its detailed core, while one highly polished face provides a clear focal point looking into the internal structure.

Practice evolution

The images in this article show completed works that I have made to exhibition standard. While I value them as individual pieces, I increasingly see them as early versions of a larger concept that is now shaping the direction of my personal practice.

Another untitled sculpture showing Stacey’s brutalist and industrial influences.

This will be a significant shift towards creating mechanical glass installations, as opposed to what would traditionally be a stationary collection of glass sculptures. I am currently designing and making the mechanical components before integrating the electronics, pulleys and belt systems that will bring the works into motion. Once the mechanisms are complete, I shall produce the glass elements, similar in character to my piece ‘Urban Echoes’, which will rotate at very slow speeds to reveal constantly changing perspectives.

My fascination with glass extends beyond the finished object. I am inspired by every stage of its journey, from the extraction of its raw materials and the immense energy required to produce it, through to the physically demanding processes of making and, in my case, cold working, to achieve as high a controlled finish as possible. This brings together my deep appreciation of craftsmanship with engineering, mechanics and electronics, reflecting the interdisciplinary approach that has become central to my practice.

‘Untitled’ piece featuring mixed media.

Glass sculpture often offers only a limited number of viewpoints. By introducing movement, I want the new work to reveal itself gradually, allowing viewers to experience changing forms, reflections and details that would otherwise remain hidden. Rather than presenting glass as a static object, I want to create installations that evolve through motion and encourage a more immersive relationship between the artwork and its audience.

Stacey Poultney.

About the artist

I’ve worked in higher education for the past 17 years as a glass practitioner in my own capacity. I have completed major commercial glass projects in diverse settings, including world heritage sites, national museums, as well as religious and contemporary buildings. I also deliver content on a degree programme, specialising in stained glass, dalle de verre, architectural glass, glassblowing and contemporary glass practices.

Find out more about Stacey and his glass work via Linktree: https://linktr.ee/staceypoultney and Instagram: @staceypoultney

Main feature image: ‘Urban Echoes’ demonstrates Stacey’s many skills in glass and engineering. All images courtesy of the artist.

Open call for International Biennale of Glass in Bulgaria

Post author By Linda Banks, Editor
Post date July 6, 2026

Artists of all ages and nationalities are invited to apply for the sixth International Biennale of Glass (IBG) in Bulgaria, IBG 2027, which will mark 10 years since its foundation.

The exhibition will take place from 24 September to 5 December 2027 at the National Gallery/Kvadrat 500 in Sofia, Bulgaria, and will again celebrate the work of contemporary glass artists from around the world.

Founded in 2017 on the initiative of artist Konstantin Valchev, a graduate of Prof. Stanislav Libenský and founder of the Glass Atelier at the New Bulgarian University in Sofia, the IBG has established itself as a leading platform for international dialogue in glass art. From its inception, IBG has aimed to position Bulgaria as an active meeting point for artists, curators, and institutions working across diverse schools, techniques, generations, and creative practices.

Held biennially, IBG has grown into a major cultural forum featuring exhibitions, lectures, educational programmes and more. Its guiding motto, ‘Together’, reflects its core mission: to unite emerging and established artists and to foster exchange, collaboration, and shared artistic growth.

Alongside its exhibition programme, IBG has developed a significant collection of donated pieces from participating artists. Over the years, this has grown to over 250 artworks, forming an important archive of contemporary glass art in its international and stylistic diversity. Selected works are on display in a permanent exhibition at the Gabensky Gallery in Tryavna, while others are shown in various exhibition formats and spaces.

The selection of participating artworks for IBG 2027 will be conducted by an international jury committee, ensuring a diverse and high quality showcase. The National Gallery of Bulgaria has been the official host and co-organizer of the event since 2019.

The deadline for applications is 15 August 2026.

The application form for IBG 2027 is available here.

For more details about IBG, please visit the official IBG website.

Artists announced for Blowfish Glass 15 x 15 exhibition

Post author By Linda Banks, Editor
Post date July 3, 2026

Following the success of the first Fifteen x Fifteen exhibition held by Blowfish Glass in 2024, a second show will be taking place, launching with a preview event on 22 August 2026.

After receiving over 140 applications from around the world (including the UK, Ireland, Germany, South Africa, the USA, Australia, Finland, Norway, France, Romania and Latvia), over 60 artists have been selected. Each artist will display a piece of work measuring no larger than 15cm x 15cm x 15cm.

Curator Bethany Wood stated, “The aim is to encourage experimentation, innovation, and fresh thinking across all glass processes – from flameworking and hot sculpting to pâte-de-verre, engraving, and beyond. The exhibition celebrates the versatility of glass while making high quality contemporary work accessible to a wide audience.”

In 2024, Fifteen x Fifteen featured 47 artists from 11 countries, showcasing an international mix of conceptual, sculptural, and functional glass.

Artists taking part this year include: Alison Jardine; Alison Lowry; Alison Mac Cormaic; Alison Stott; Amelia Skachill Burke; Angela Thwaites; Aria Kiani; Avis Dou; Ayako Hirogaki; Brenda Page; Caroline Anne Weidman; Cathryn Shilling; Charlie Burke; David Reekie; Deborah Timperley; Emma Baker; Emma Goring; Eva-Annamaria Lihor-Laza; Georgia Redpath; Gillies Jones; Helen Slater Stokes; Jane Vincent; Jean Thebault; Jeremy Sinkus; Joshua Kerley/Guy Marshall Brown; Jade Pinnell; Julie Light; Karen Browning; Katherine Huskie; Kerry Collison; Kira Fröse; Kira Phoenix K’ina; Laura Aalto-Setälä; Laura McKinley; Laura Quinn; Layne Rowe; Laxmi Priya; Lindsay LeBlanc; Lisa Preußner; Lorena Rode; Lothar Böttcher; Louise Truslow; Lyndsey Gates; Madeleine Hughes; Madeline Bunyan; Maria Donnai; Maria Zulueta; Mark Bickers; Marta Gibiete; Morag Reekie; Nicola Steel; Pål Roland Janssen; Ruth Shelley; Sacha Delabre; Sally Beeston; Sarah Shanahan; Scott Chaseling; Sharon Korek; Shonah Escombe; Sue Simmons; Susan Kinley; Suzie Smith; Theo Brooks; Thomas Petit; Tim Rawlinson, and Weston Lambert.

Bethany added, “Thank you to every artist who applied – the standard of work was exceptionally high and selecting this year’s exhibition was incredibly difficult.

“We can’t wait to welcome you all to Fifteen x Fifteen 2026 on Saturday 22nd August from 11am onwards at Blowfish Glass Gallery.”

The preview day coincides with the Stourbridge Glass Quarter Festival (21-23 August 2026), which includes exhibitions at General Office Gallery, Stourbridge Glass Museum (A Celebration of Glass), the Ruskin Glass Centre, and the Red House Glass Cone in collaboration with Makers Market Midlands.

Following the preview day, the exhibition will be open to the public from 2 September until 22 October 2026, with the online exhibition continuing until 22 November 2026.

Opening times are Thursday: 10.30am-3pm; Friday: 1-7pm; Saturday: 10.30am-3pm; Sunday-Wednesday: closed. However, viewing on other days and times can be booked by appointment.

Blowfish Glass is at: Unit 15, Red House Glass Cone, High Street, Wordsley, Stourbridge, DY8 4AZ. https://blowfishglassart.com

Image: Detail of artwork by Kerry Collison that is appearing in the Fifteen x Fifteen exhibition.

Submit proposals for GAS 2027 conference in Sweden

Post author By Linda Banks, Editor
Post date June 26, 2026

The Glass Art Society (GAS) will be travelling to Kosta, Smaland, Sweden, for its 2027 conference and now invites proposals for presentations.

The conference theme will be ‘ReKindle: Glass, Sustainability, and the Future of Making’.

GAS states, “ReKindle is both a reunion and a reckoning. First envisioned for 2020 and now being realized in 2027, this conference arrives at a moment when the global glass community is asking urgent and exciting questions: How do we make glass in a more sustainable way? How do we honour tradition while embracing change? How do we ensure that glass – its techniques, its histories, its communities – continues to thrive for generations to come?”

Against this backdrop, GAS invites artists, educators, historians, collectors, technologists and advocates from around the world to bring their perspectives to these conversations. Proposals will be welcomed across all areas of glass practice and scholarship. Particular encouragement goes to work engaging with:

Sustainability in materials, process, and pedagogy

Innovation rooted in craft tradition

Emerging and experimental approaches to glassmaking

The evolving role of glass in art, design, and culture

Community-building and access within the global glass field.

Kosta is in the heart of Sweden’s Kingdom of Crystal. Kosta Boda was founded here in 1742 and the glass furnaces have not gone cold since. The region’s 14 historic glassworks represent one of the most concentrated living traditions of glass art in the world.

GAS 2027 conference dates are 2-5 June 2027.

Proposal submissions are open until 31 July 2026. Find out more and apply via this link.

An inquisitive nature

Post author By Linda Banks, Editor
Post date June 21, 2026

Petri Anderson explains how he unknowingly started his career in stained glass at a prestigious studio and how he continues to channel his inner physicist in pushing the boundaries of colour and technique in his craft.

My route into working with glass wasn’t a particularly straightforward one. When it came to choosing the direction of study at school, I went down the science path. This led me to embark on a physics degree course at Birmingham University. My father was a physicist and my mother a talented amateur potter. Science was seen to hold better prospects than a life in the crafts but, after a year pursuing physics at degree level, the penny dropped that it really wasn’t for me. In the autumn of 1989, I dropped out of university and re-evaluated my future.

‘Doves Rising’ autonomous panel.

A friend told me of a stained-glass studio close to where I was living so I knocked on their door and enquired as to whether they were taking on staff. Little did I know that I had knocked on the door of one of the most prestigious stained-glass companies and furthermore that they had been considering taking someone on. The interview was arranged and, after a month’s trial on the glass painting side and a month doing bench work, I was given the choice of which side of the craft to pursue. It was only later that I realised that had they advertised the position, the advert would have gone out to art colleges, and I would have been overlooked.

‘Tango’ is another autonomous panel made by Petri Anderson.

I chose to pursue the glass painting side and was trained in the craft by master glass painter Peter Archer who himself had worked at Whitefriars for a long time. For many years I worked at Chapel Studio honing my craft and experimenting with new techniques. That inquisitive nature has persisted throughout my career as I continue to experiment and explore possibilities. I guess there is still an experimental scientist in the DNA somewhere.

One of my tangential discoveries that I now use frequently is that you can achieve a nice subtle earthy orange hue by firing iron acetate into glass. I had a bottle of iron acetate solution, which was prepared by dissolving steel wool in vinegar. It’s a solution more commonly made by carpenters as an ebonising fluid. I thought to try firing some onto a piece of glass and was astounded by the result. I knew that microscopic iron particles fired into glass because there was an expensive, iron-based pigment on the market called Jean Cousin. My solution (affectionately named ‘Petri’s potion’ by several in the stained-glass community) fires less red than Jean Cousin but is a fantastic complement to its more costly sibling.

East window at St Andrew’s Church, Stanstead Abbots.

In recent years I have been pursuing a body of autonomous, standalone panels. They tend to be more detailed in nature than my architectural commissions. I’m always looking to ramp up the colour complexity. The iron acetate, Jean Cousin and silver stain are all applied colours that help towards this end. Other techniques that I frequently use to further increase the colour elaboration are acid etching of flashed glass and plating two layers of glass together. Marrying these techniques can place a phenomenal range of hues specifically where you want them on what appears to be a single piece of glass.

‘Lion and Unicorn’ autonomous panel.

With careful and considered application of these techniques I’m able to realise the atmospheric woodland scenes that have become a bit of a hallmark of my more recent work. I really enjoy throwing myself into these pieces. It’s a very different kind of working practice from my commissioned site-specific work. I enjoy both. I like the challenge of working towards an architectural brief but then the freedom to just make without the constraints of pleasing clients or committees brings a fresh joy.

‘Who’s that in the Hollow?’ is an interpretation of a painting by E. R. Hughes.

There is a certain discipline required for the commissioned architectural work. I design using the Procreate app on my iPad. The design takes shape and is ultimately shared with the client. Typically, some alterations and amendments are made during this process. Then the design is submitted to the Parochial Church Council (PCC) and, once approved, it goes to the Diocesan Advisory Committee (DAC). Each committee may have additional requirements and their meetings may be several months apart. I find the design process quite intense and the need to pick up and put down that process intensity throughout the flow of a commission does not come naturally to me. Therefore interspersing these commissioned works with the free rein of my autonomous panels helps me keep me enamoured with the craft for the long haul of a multi-decade career.

The Coat of Arms created for Queen Elizabeth II and Price Philip at the Sandringham Estate in Norfolk.

I feel blessed to have the career that I have. Some of the highlights have been making the coats of arms for Queen Elizabeth II and Prince Philip on the Sandringham Estate, Sir John Major’s Arms for his home, plus portraits of Sir John Stuttard for Glaziers Hall and for his home. Sir John is a former Lord Mayor of London and Master Glazier of the Glaziers Livery Company. It would be hard to say which of my works would be my favourite. At a push I would have to say my next one. I’m always looking to build on what has gone before and push into new territory.

Sir John Stuttard portrait at Glaziers Hall in London.

Find out more about Petri Anderson via his website.

Petri Anderson.

Main feature image: An example of Petri Anderson’s highly detailed and richly coloured stained-glass work featuring a fox and deer. All images: Petri Anderson.

Visit Verity Pulford solo glass exhibition in Wales

Post author By Linda Banks, Editor
Post date June 18, 2026

Verity Pulford’s solo exhibition, ‘Moss for a Bed’, opens on 4 July 2026 at Ruthin Craft Centre, Wales and runs until 20 September 2026.

‘Tippler’s Bane’ is a delicate rendition of a common mushroom.

Featuring a range of glassmaking techniques, Moss for a Bed takes its title and inspiration from the sense of comfort, peace, and connection that Verity finds in nature. The exhibition brings together a diverse body of work created with casting, alternative pâte de verre, fusing, painting, and etching. The works encompass both wall-based installations and sculpture, drawing inspiration from fungi, coral, seaweed and other botanical forms.

Coral made from cast blue glass.

Alongside the glass pieces will be a series of hand-carved porcelain vessels paired with removable cast glass stoppers. The vessels are carved to create tactile surfaces that respond to natural textures. The glass stoppers are created through wax sculpting and burnout casting processes, forming a visual and material dialogue between the translucent and the opaque.

‘Textures of Coral in Grey’ shows Verity’s mastery of delicate glass techniques.

Also featured in the exhibition is the work that earned Verity the Gold Craft and Design Award at the National Eisteddfod of Wales in 2025. This includes wall pieces and cast bird skulls.

Throughout her practice, Verity explores ideas of magical realism, creating imagined forms inspired by, and often combining characteristics of, different plants, fungi and organisms. Through glass, she develops a personal visual language that blurs the boundaries between the natural and the fantastical.

The show will be held in Gallery 3 at Ruthin Craft Centre. The exhibition launches at 2pm on Saturday 4 July and Verity will present a talk about the work on the morning of 5 July.

The exhibition will be touring to Canfas in Cardigan and The Biscuit Factory in Newcastle.

There is free admission and free on-site parking. Opening Hours: Tuesday – Sunday, 10am – 5.30pm.

Ruthin Craft Centre, The Centre for the Applied Arts, is at: Park Road, Ruthin, Denbighshire LL15 1BB, Wales.

Detail of ‘Dark Treasures’.

Verity Pulford is based in Eryrys, North Wales. Her work is sold in leading galleries, exhibited internationally and collected by private and public institutions. She is a QEST Scholar, part of the Homo Faber Guide and member of the Guild of Makers of Wales. Verity has exhibited at Collect in London and the British Glass Biennale on several occasions.

She has been awarded Arts Council of Wales grants for three major projects and Wales Arts International funding for a residency at Pilchuck Art School in Seattle, USA. She also undertook a funded residency at North Lands Creative Glass Studio in Caithness.

Find out more about Verity in this CGS Glass Network digital interview and via her website www.veritypulford.com

Main image: Verity Pulford’s ‘For the Love of Small Things’. All photos: Stephen Heaton Photography.

Apply for YOUNG GLASS 27 in Denmark

Post author By Linda Banks, Editor
Post date June 15, 2026

Glass artists under the age of 35 are invited to apply to exhibit at YOUNG GLASS 27, to be held at Glas – Museum of Glass Art in Ebeltoft, Denmark, from 20 March 2027 to 16 January 2028.

YOUNG GLASS 27 is the fifth edition of an international, juried competition for artists under the age of 35, organised by Glas – Museum of Glass Art. Held every 10 years, YOUNG GLASS was launched in 1987 to reward and promote innovation and emerging talent in contemporary glass.

Works for the exhibition will be selected by a high profile, international jury, and cash prizes and artist residencies will be awarded to the winners.

The 2027 competition will have a special focus on artistic explorations of sustainability and craftmanship.

The jury panel comprises:

Pernille Taagaard Dinesen, Chief Curator, Glas – The Museum of Glass Art
Maria Bang Espersen, practising international glass artist, based in Sweden
Sven Hauschke, Director, European Museum of Modern Glass, Coburg, Germany
Ruriko Tsuchida, Director, Toyoma Glass Museum, Japan
Monica Guggisberg and Philip Baldwin, practising international artists, based in the UK
Susie Silbert, freelance curator, Corning, New York, USA.

The final judging of the competition will take place on Friday, 19 March 2027 and the prize winners will be announced and an award ceremony held at the opening event on 20 March 2027. A catalogue will be produced to accompany the exhibition.

After the exhibition in Ebeltoft, the show will move to Kunst Sammlungen der Veste Coburg, Germany, from February 2028.

Closing date for entries: 30 September 2026.

For more competition details and entry forms visit: https://www.glaskunst.dk/youngglass27

Glas – Museum of Glass Art is collaborating with the European Museum of Modern Glass, Coburg, Germany, to present this competition.

Glas – Museet for glaskunst is at: Strandvejen 8, DK-8400 Ebeltoft, Denmark.