Glass with a conscience

Versatile glass artist Julia Gonyou explains her process, passion and craft, backed by her environmentally conscious approach. 

I am a British/Canadian stained glass artist based in London, England; passionately committed to producing original, environmentally conscious stained glass art. In my adolescence my Mum first introduced me to stained glass as a hobby and it’s been an interest we’ve shared ever since. In 2011, I completed a Bachelor’s degree at Ontario College of Art & Design University in Toronto, Canada. However, it wasn’t until after I graduated from university that I turned my brush to glass, which was when I truly found my passion (see main feature image).

For the past 12 years, to broaden my material experience, I continued working and training in a variety of hot and cold glass techniques, while living and travelling in more than seven countries. I’ve received grants and awards from the Worshipful Company of Glaziers and Painters of Glass, American Glass Guild and the Reflections of the Lord Mayor –  where I continue to contribute as a SEND Arts Award Advisor, facilitating youth outreach. I also enjoy volunteering for the British Society of Master Glass Painters (BSMGP), as a member of its Council and Artists Working Group lead.

The processes I use and specialise in on a regular basis are glass painting, etching and kiln forming. When time or facilities allow, I also like to incorporate alternative processes, such as antique silvering, flameworking and glass casting. For a number of reasons, when I’m in the studio, I enjoy bouncing between my favourite techniques or active projects. I find technical variety tends to be a source of sustenance and creative inspiration. Another reason for variety is that, while some techniques in glass are inherently slow, others can be streamlined in a way that doesn’t compromise quality, providing a welcome change of pace.

When I set out to create new work, usually I start with quite a rough sketch. Then, I’ll either refine this sketch through finding or taking reference photographs, or life drawing. Sometimes I’ll compile these references into a composition building on a previous idea, or I’ll jump straight onto the glass without having a clear vision of how it may come together compositionally. I find the latter approach to be the most inspiring, as I’m responding directly to the evolving surface treatments and narratives. I’ll then continue to practise and create more samples until I’m happy with the effect; these act as catalysts, informing future and more complex works.

My conceptual approach to stained glass is based on philosophical views of awareness; our soulful and intellectual responsibilities to nature and to one another. Each painting generally focuses on one subject, emotion, or state of consciousness. Together, they act as elaborate reflections of our multifaceted whole. I like to use art as a platform for thought, meditation and revelation; as a visual communication system, capable of engaging our global community on complex environmental and humanitarian issues.

My favourite tool is my collection of paint brushes. I have, over time, collected these brushes from many places that I’ve travelled to, and some were even traded or gifted by other painters. They are significant to me, as these specialised glass painting tools are essential and unique to my most treasured technique; they represent educational milestones, professional relationships, or merely the adventures I’ve experienced in the pursuit of my beloved art and craft.

Pieces that I have particularly enjoyed creating are those where I felt I had successfully expressed the feelings I wanted to convey, executed a high level of craftsmanship, or where I developed a more direct/unique form of visual communication.

To be more specific, the 2025 commission designed and recently installed at The Kernel craft brewery taproom in London, ‘Bottles Deconstructed/Beer in the Making’, fits these criteria. It is made from kiln-formed, recycled beer bottles and is significant to me as I developed a custom, textural relief that meaningfully referenced the beermaking process, used materials that reinforced our environmental ethics, while complementing the interior of the establishment.

‘Nature Unsettled’ (2024), part of the current ‘Inspired by William Morris’ BSMGP touring exhibition, etched on mouth-blown flashed glass, is again special to me, because I used the opportunity to progress my etching style and demonstrate my recently advanced etching skills learnt during my American Glass Guild Scholarship with Judith Schaechter.

 ‘Stricken’, exhibited in the Contemporary Glass Society’s online exhibition ‘Light & Dark’ (2023), is painted with lead oxide, fired on opal white glass. It evolved quite a lot compositionally during its creation; I eventually chose not to incorporate the shoulders of the subject, which I felt enhanced the emotional state of the figure, reinforcing their individual/collective isolation and anxiety.

I love making and trading a wide range of work, such as my more affordable glass series, available online and at markets, autonomous fine art panels and bespoke commissions. I usually like to design commissions for residential homes, public spaces and small businesses/establishments, using whichever glass technique best suits the location, brief and budget. I keep busy creating new work, advancing my skill set, freelancing for other stained glass studios, exhibiting, volunteering, teaching, facilitating, all while collaborating with individuals, organisations and conservation non-for-profits around the globe.

Over the years, and after working for many wonderful glass studios, I came to realise that what I truly want is to establish my own full-time, independent stained glass practice. In the future, I hope to continue investing in and growing my studio facilities, pursue gallery representation and to start exhibiting at art fairs. Lastly, I hope to continue combining my passions for art and environmentalism in a way that promotes awareness and proactive change.

Find out more:

Website: www.juliagonyou.com  Instagram: julia.gonyou.glass

Main feature image: ‘Emerged’ (2017) comprises painted grisaille fired on mouth-blown glass. All images courtesy of Julia Gonyou.