The Stained Glass Museum (SGM) is hosting a series of online talks (via Zoom) this Spring to coincide with The Glass Heart exhibition at Two Temple Place, London, for which it is a lending partner.
The show and talks celebrate the fascinating material of glass, its industrial heritage, the skills and ingenuity of contemporary glass artists, as well as its place in the built environment.
Tickets are £6.50/£5 Friends of SGM
The three talks are:
Wednesday 13 March, 7pm
A spotlight on our glass heritage with National Glass Centre, Sunderland, St Helen’s World of Glass and Stourbridge Glass Museum
Wednesday 20 March, 7pm
The Art of Glassblowing with Ayako Tani and Christopher Day
Wednesday 27 March, 7pm
Architectural Glass: The Supreme Art with Andrew Moor
Stourbridge Glass Museum (SGM) is celebrating the anniversary of its opening with a special Gala Evening on Friday 19 April 2024.
The event will include a VIP reception followed by an evening of presentations and live demonstrations showcasing the museum’s work. Speakers will include Graham Fisher MBE, glassmaker Chris Day and glass expert Dr Max Stewart.
In addition, Allister Malcolm and his team with be showing their skills at glassmaking and a Fire Poi performance.
A highlight of the evening will be a raffle/blind auction with the opportunity to win a unique work of glass specially made for the event by glassmaker and British Glass Foundation (BGF) Trustee Chris Day.
Tickets are £50, with all proceeds going to support SGM. Tickets include complimentary wine, beer and food alongside live glassmaking, fiery performances and engaging talks.
Time: 18:30 – 21:30.
BGF Chairman Graham Knowles says, ‘The Gala Evening is our celebration of what we have always felt to be the ‘People’s Museum’. This is the first in what we intend as an annual event that will celebrate both the area’s rich glassmaking history and its bright future’.
Stourbridge Glass Museum is at Stuart Works, High Street, Wordsley, DY8 4FB, UK.
Image: (top row left to right) Allister Malcolm, Graham Fisher and Chris Day will be participating in the Gala Evening. Bottom left image photographed by Simon Bruntnell.
A new student prize has been announced for the British Glass Biennale (for which the entry deadline has been extended to Sunday 3 March 2024 at midnight).
The new award is the Glass Lab Award 2024 that will go to a student showing technical skill and knowledge in the material.
The winner will receive:
5 days of studio time at The Glass Foundry
One-to-one support from expert staff
£1,500 towards travel, accommodation and materials.
The Glass Lab is in its fifth year of running artist residences and scholarships at The Glass Foundry in Stroud. It was formed to promote collaboration, diversity and innovation in the field of glass. The Glass Lab exhibited the work of eight glass artists in residence for the first time at the 2022 Biennale.
Other awards:
British Glass Biennale Award for Best in Show The British Glass Biennale jury will select the winner of this award from all exhibitors selected for both the Main Section and Student Section. The winner will receive a £7,000 cash prize.
NEW: Bullseye Living Edge Award This award is for the best piece (or set) made exclusively of Bullseye glass. The winner will be selected by Bullseye Glass Ltd and receive £5,000 of Bullseye products (glass only) redeemable through Warm Glass UK.
Glass Sellers’ Main Award The Glass Sellers’ jury will select the winner and runner up of this award from all exhibitors selected for the Main Section, including previous winners of the Glass Sellers’ Student Award and the Glass Sellers’ Main Award runner up, but excluding winners of this award within the last five years.
Glass Sellers’ Student Award The Glass Sellers’ jury will select the winner and runner up of this award from exhibitors selected for the Student Section including previous runners-up of the Glass Sellers’ Student Award, but excluding previous winners of this award.
Arts and Crafts award Artisan winner £2,500 Arts and Crafts award Artisan runner up £1,000 Arts and Crafts award Student winner £1,000 Arts and Crafts award Student runner up £500
Note: Stained glass windows are specifically excluded from the Glass Sellers’ awards.
The Glass Art Society (GAS) International Artists’ Prize This $1,500 prize will be awarded by the Board of GAS and signifies international recognition of the winning artist by his/her professional peers.
NEW: Glass Painters and Glaziers Award This £1,000 award is for a piece of glass art that features the use of traditional or modern techniques that could include painting, staining, enamelling, leading, copper foiling, laminating or fusing in a broadly two-dimensional format. It is open to all artists including students.
People’s Prize This £750 prize is awarded for the artwork selected by public vote. Sponsored by Warm Glass.
Young Collectors’ Award This £250 prize is awarded for the artwork selected by children aged 16 and under. A specially commissioned piece of glass is also given to a child selected at random from the entries.
Glass Society Award – ‘CONNECTION’ Winner £2,500 Runner Up £1,000 You are free to interpret this theme any way you want.
Guild of Glass Engravers Award £1,000 for the best engraved piece.
Find out more details about the Biennale and link to apply for the exhibition via this link.
A monumental optical glass, mirror and wood sculpture has gone on display at Glass Futures in St Helens, Merseyside, UK, for the duration of 2024.
The sculpture, entitled ‘New Perspective’, was made by Richard Jackson and Sally Fawkes and is on show with a selection of their smaller works.
The inception of New Perspective was an exhibition entitled ‘Reflection’ held at Salisbury Cathedral in 2016. That show, curated by Jacquiline Cresswell, challenged the selected artists to respond to the context of the cathedral and its 900-year history.
Sally and Richard were inspired by:
The technological advancements made at the time of the building of Salisbury Cathedral, which began in 1220
The skill of the craftspeople employed whose marks can be seen and touched in the fabric of the building
The cathedral’s place as a centre of inclusive reflection and its adaption to societal changes over the centuries.
The sculpture takes the form of two glass columns, each marked with its own history and language, linked by a path of mirror, like a path of light. Reflections and refractions displace and multiply new images in new settings, showing new paths, new lines of sight and new points of view. A new perspective is opened out among the old.
A view of New Perspective showing the full piece. Photo: Sally Fawkes.
New Perspective symbolically projects the vision of Glass Futures of expanding possibilities through inspiration, exploration, curiosity and imagination, paving the way to change for the better. For this reason, New Perspective was chosen to take centre stage in the reception atrium of Glass Futures.
Glass Futures has a 165,000 sq ft, state-of-the-art, multi-disciplinary glass melting facility, the Global Centre of Excellence, which will be capable of producing up to 30 tonnes of glass per day in a specially designed and purpose-built experimental furnace.
Glass Futures is a not-for-profit membership organisation created by the glass industry for the future benefit of society. It connects the global glass industry with academia to demonstrate innovative technologies through research and development that will make glass and other materials zero carbon for a sustainable future, enabled by glass.
The installation was arranged by leading glass collector and member of Glass Futures’ Membership Council, Mark Holford. A total of 75 pieces of his collection are on exhibition at The World of Glass, located five minutes’ walk from Glass Futures.
There is no doubt that Simon Moore is driven in everything he does. Having built his first wood-fired pottery kiln at age 14 to running a thriving glass studio today, his unerring commitment to creating production glass for businesses is the foundation of his success. However, he worries that students today are not able to benefit from the sort of educational and training mix that was the basis of his career. Linda Banks finds out more.
Simon Moore describes himself as a “production handmade glassmaker”. He is proud of this title, which he believes encompasses his hard-won skills of repetitive making, building accuracy and speed, which have enabled him to found and maintain a sound and profitable business. His aim is never to have products sitting on his shelf unsold.
Though Simon went to art school, he deliberately does not call himself an artist, as he does not believe this term justifies his broader abilities. In fact, he took a year out of formal education to train at the Glasshouse in Long Acre, Covent Garden, in 1979.
As experienced glassblowers know, it takes time to learn the basics and the ‘haptic’ knowledge necessary to be proficient in glassmaking. He recognised that hard work would be needed if he wanted to make a successful career with glass. He comments, “I had just enough skill, but, importantly, the right aptitude to gain more. I often worked 14 hours a day and was paid £45 per week.”
‘Still Life with Balustrades’ (2014). The plate is 500mm diameter.
Simon knew that he had to be totally committed to learn this trade through working long days, learning how to fill the furnace and seeing how a workshop runs. He also benefitted from training in the exacting skills of making the same piece over and over again, watching the talented glassblowers there, especially gaffer Ronnie Wilkinson, of Whitefriars fame.
Simon glassmaking at the Kvetna factory in the Czech Republic in 2017, working with old optic moulds found in the basement.
When he was a student at the then West Surrey College of Art and Design (now UCA Farnham), Simon acknowledges that he was fortunate to be immersed in an atmosphere of keenness to make, surrounded by workshops for ceramics, metalwork and jewellery for inspiration and with the support of tutors like Annette Meech, Ray Flavell and Stephen Procter.
Plate and vase with black and white dots (2006). Vase 400mm tall and plate 500mm. Photo: Ester Segarra.
However, he believes that colleges today are not investing in the teaching of glassmaking so that students can leave with enough ability to work in the real world. He says, “The colleges are teaching what they perceive as art because they describe themselves as art schools. They are not looking for students with aptitude. Nor are they looking for students with talent and ambition, either. For them I think it’s all about getting ‘bums on seats’. The job of an educator is to extend the student, to understand ambition and help the student achieve it, but I don’t feel this is happening now.
“I myself taught at art school for many years and loved it. But I became increasingly aware that courses were teaching not how to make an idea happen, but how to think about how it happens. If you have a good idea and can’t make it yourself then you use glass makers like James Maskrey or Louis Thompson. But as we all get older, where will the next generation of glass masters come from?
“What makes me anxious today is the lack of decent glassmaking assistants. They are just not out there any more. Glass making needs a physical, hands-on approach. Yes, every object needs a good idea driving it and of course the intellectual side is important, but there also has to be a physical, hands-on approach. I’d much rather be able to manufacture that idea and create income than just write about it. The academic approach over the last few years is stifling physical making.
“I became disillusioned with teaching when I was told that we could not fail anyone; that was the end for me. My 37 years of experience in the field and ability to recognise real aptitude for a career in glassmaking – or lack of it – apparently counted for nothing. The world of academia is so different to the world of professional and commercial practice.”
‘Balustrade Triptych’ – tallest 850mm. Hand cut and bonded glass. Photo: Ester Segarra.
Following on from his intensive work experience and subsequent employment at the Glasshouse, Simon proceeded to co-found the Glassworks studio with Steven Newell and Catherine Hough, in order to produce innovative glassware.
For him, it has always been about the ability to make the same item to the same high standard and precision, over and over again, that has appealed, and he is proud that he can make the same decanter for a client today that he made five years ago.
Over the course of his career Simon has travelled and worked abroad extensively, feeding his knowledge and building influential contacts. “To be a good glassmaker, you have to keep learning all the time,” he emphasises.
However, he does not see the drive necessary for success in many students graduating today. “They don’t have the patience or the 100% commitment required. They really have to want to do it and understand the level of dedication it takes to learn. You can lead a horse to water but can you make it drink? In their turn, the students must keep the pressure on the colleges to give them access and practise their skills with commitment – a couple of hours a week is not enough!
“The colleges need to be more rigorous in choosing students with the right attitude and aptitude – and then give them enough access to the hot shop to practice and fail and learn from their mistakes. There needs to be much more careers advice and discussion of business methods, preparing students for the real world. It is up to the students to demand a return on their £9,000-a-year investment if they don’t feel they are getting value for money from their courses.”
Simon’s own determination to be successful in the glass world led him to take on design directorships at Salviati in Murano and Dartington Crystal in Devon, before setting up his own workshop in London. His studio has made chandelier arms for the Palace of Versailles and glasses for Bombay Sapphire, plus he has collaborated with Anish Kapoor and Nicole Farhi to make handcrafted collections.
Three-stripe bowl and vase with decorated centres, created using the Venetian incalmo technique to join the sections. These sell very well in the US.
So, does he think the contemporary glass scene is still viable? Simon says he still has hope: “I think we still have just enough resources to rekindle some parts of a derelict tradition. We live in cycles; we reinvent. It’s time for the teaching of craft to be reinvented. Let’s get back to making. We need one very good handmade glass course that sets the standard.”
He concludes, “I just want students today to have the opportunities that I did.”
Main image: Simon Moore making a large ‘Grid Vase’ at the Kings Cross workshop.
Simon has opened the debate on glass education and welcomes your thoughts, whether you are an educator, student or someone who appreciates contemporary glass. Email us with your views via: editor@cgs.org.uk
Glass master Mark Angus is holding a solo exhibition of glass, painting, collage, print and text at the District Gallery at Neuburg Castle in Germany.
Open now until 3 April 2024, the show is entitled, ‘80 Capriccios und anddere Verstörungen’ (literal translation: ‘80 capriccios and other disturbances’).
In his installation ‘80 Capriccios’, Angus used glass and lyrical text to illuminate an insecure and sacred present-day self. He now continues this path at Neuburg am Inn Castle. This new exhibition presents a representative part of the ‘Capriccios’ body of work created in 2018 and leads on from it. From soul-searching, fear and experiencing crises, Angus expands his view of the ‘other disorders’ experienced by people today.
The exhibition is open Tuesday to Sunday, 11am to 5pm at Landkreisgalerie auf Schloss Neuburg, Am Burgberg 2, 94127 Neuburg am Inn, Germany.
The application process is open for the eighth edition of The Venice Glass Week, which will take place around Venice, Mestre and Murano in Italy from 14 to 22 September 2024.
Applications are invited from any organisation, institution, company or individual, from Italy or abroad, who would like to propose an event or project relating to artistic glass. Candidates can propose to organise their own independent event or project as part of the festival – including exhibitions, installations, conferences, workshops, guided tours, family activities and more – or they can apply to exhibit within The Venice Glass Week HUB or The Venice Glass Week HUB Under35 (for artists aged 35 or under).
The two HUBs are hosted by the Istituto Veneto di Scienze, Lettere ed Arti in Palazzo Loredan, located in Campo Stefano, in the heart of Venice.
The Venice Glass Week HUB is situated in the magnificent first floor galleries and will feature a series of installations of glass artworks by artists and designers aged 36 and over.
The Venice Glass Week HUB Under35 is situated in the ground floor galleries of Palazzo Loredan and will host a series of glass artworks by artists and designers aged 18-35.
All exhibitors within the HUB Under35 will be considered for the Autonoma Residency Prize, which will enable the winner to undertake a two-month artistic residency at Pilchuck Glass School in Seattle, US, in 2025.
Participation in the festival is free, but participants are responsible for all costs relating to the planning and realisation of their individual events and projects (eg transportation and installation of artworks, insurance, hire of venue if relevant).
HUB exhibitors are responsible for all costs relating to the production of their works, transportation to and from the venue, installation and de-installation, plus insurance of their works while in transit and on-site.
Read the conditions of entry via this link before applying using the online application form, which will be evaluated by the festival’s Curatorial Committee.
The deadline for applications is Monday 8 April 2024.
The Venice Glass Week was established in 2017 to celebrate and promote the art of glass. The festival is promoted by Comune di Venezia and organised by Fondazione Musei Civici di Venezia, LE STANZE DEL VETRO – Fondazione Giorgio Cini, Istituto Veneto di Scienze, Lettere ed Arti and Consorzio Promovetro Murano.
Discover the rich cultural tapestry of Oaxaca in Mexico with the Glass Art Society (GAS) this autumn.
One of Mexico’s most culturally rich regions, Oaxaca is known for its long tradition of producing world-class crafts, mezcal, mole, and chocolate – all of which will be explored during this week-long adventure from 25 September to 2 October 2024.
And to satisfy the more glassy side, the group will visit local studios and explore environmentally friendly practices being pioneered in Oaxaca and enjoy hands-on activities. There will also be a personal tour of the exhibition at Centro Cultural San Pablo during the second Bienal Internacional de Arte en Vidrio de Iberoamérico.
This exclusive adventure is limited to 30 attendees and we are delighted to announce that Contemporary Glass Society members can enjoy GAS member pricing until 1 June 2024.
Prices for GAS and CGS members are: US$3,597 per person double occupancy or US$4,542 per person single occupancy.
Non-members: US$3,957 per person double occupancy or US$4,996 per person single occupancy.
The price includes tour, city travel, hotel, lunches, dinners and all admission fees for planned activities. Airfare is not included.
For booking at member rates, contact Julie Thompson at julie@glassart.org. For more details, visit https://bit.ly/3pq6QES.
From 15-17 March 2024 Salem Community College in the US will host the 22nd International Flameworking Conference (IFC).
This three-day event promotes excellence in flameworking through artist demonstrations and scholarly presentations. The weekend attracts glass artists and enthusiasts from around the US and the world.
In 2024, the conference will continue its core mission of education, the promotion of the techniques and its practitioners.
Featured artist this year is Mathieu Grodet, who is joined by eight demonstrating flameworking practitioners who will show off their skills over the weekend. They are Shayla Windstar Behrman, Ivan Bestari Minar Pradipta, Lilla Tabasso, Paul Stankard, Rocko Belloso, Joy Munshower, Kyle Meyer and Elliott Todd.
The weekend includes a film screening, presentations, demonstrations, exhibits, and seller displays.
On the Friday evening, curator, speaker and advocate for artists, Susie Silbert will present the keynote address, followed by a screening of filmmaker Dan Collins’ latest documentary, entitled ‘Paul Stankard: Flower & Flame’. NB Paul is one of the contributors to the upcoming May 2024 edition of the Contemporary Glass Society’s (CGS) Glass Network print magazine, which is sent to all members of CGS.
Find out more details of the programme and register for the IFC via this link.
Salem Community College’s Glass Education Center is at: 460 Hollywood Avenue, Carneys Point, NJ 08069, US.
Image: Work by Mathieu Grodet, the 2024 Featured Artist at the conference.
An exhibition of kiln-formed glass by 14 makers will be presented in Leicestershire in March.
The show is called ‘Nature in Glass’ and has been organised by the UK Glass Art Collective – a newly formed group of 14 glass artists from around the UK who met while exhibiting in Bristol in 2023.
This first joint show will be held at Coalville C.A.N., opening on Thursday 14 March 2024 and running until Sunday 24 March 2024 (10am to 4pm daily), with free entry.
On 13 March there will be an artist talk at 6pm, plus there will be have-a-go fused glass workshops on offer on 16 and 17 March at 10.30am and 1.30pm with Carla Harris-Marsh. Email carla@harris-marsh.com for details of costs and booking information.
Artists exhibiting include: Rosalind Beattie, Suzanne Bunce, Mandy Capel, Alex Compton, Rachel Craig, Fabio di Gregorio, Rachael Durkan, Jacqueline Erhahon, Claire Fernig, Angela Gunter, Carla Harris-Marsh, Rachel Nuttall, Heather Russell and Katrina Shearlaw.
Coalville C.A.N. is a community enterprise where makers, volunteers and community groups work in partnership for the good of the local community.
Coalville C.A.N. is at Memorial Square, Coalville, Leicestershire, LE67 3TU, UK. Website: www.coalvillecan.coop
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