Archives: News

News and reviews

22nd International Flameworking Conference in US

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.

New glass collective holds exhibition

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

Corning’s Studio announces 2024 residencies

The Studio of The Corning Museum of Glass has announced the names of its 12 residency recipients for 2024.

The programmes include Artists-in-Residence; the Black, Indigenous, and People of Colour (BIPOC) Residency; the Instructor Collaborative Residency; the Burke Residency; the David Whitehouse Research Residency for Artists, plus the David Whitehouse Research Residency for Scholars.

The five-week-long Studio residencies aim to empower artists to explore new directions in their work. The research residencies have been awarded to artists and scholars to provide time and resources for in-depth, scholarly research using the collections of The Rakow Research Library and the Museum, plus access to expert staff.

The Studio of The Corning Museum of Glass, in partnership with The Museum of Art and Design (MAD), introduced the biennial Burke Residency in 2020. This residency enables one non-glass artist from the Burke Prize exhibition at MAD to use the glassmaking facilities and resources at The Studio to further their artistic exploration. Santa Fe-based multi-media artist Brie Ruais will undertake the 2024 Burke Residency from 18 November to 13 December.

Residents will benefit from use of the new Wendell Weeks & Kim Frock Residency Center, which is part of a major facility and programme expansion set for completion in late 2024. The Residency Center features seven fully equipped studios surrounding a light-filled lounge.

2024 Residency recipients are:

Alli Hoag (Ohio, US)
David Whitehouse Research Residency for Artists
18-29 March 2024
Alli Hoag is a Toledo-based artist and researcher who works across the mediums of glass, installation, video, performance, and digital technology. She plans to investigate the Rakow Research Library’s extensive collection of Blaschka notebooks and explore the Museum’s Blaschka glass specimens to find source material for transforming microscopic two-dimensional images and surfaces into three-dimensional forms.

Birgit Maixner (Trondheim, Norway)
David Whitehouse Research Residency for Scholars
8-26 April 2024
Birgit Maixner is an archaeologist who specialises in the Northern European Viking Age and material culture of that era. She will use the Rakow Research Library and the Museum’s collections and exhibitions to further her research into Viking-period Middle Eastern mosaic glass beads.

Joe Stadolnik (Illinois, US)
David Whitehouse Research Residency for Scholars
17-28 June 2024
Joe Stadolnik studies medieval English literature and its interaction with natural sciences like astronomy, medicine and alchemy. He will research into two medieval manuscript books in the Rakow Research Library, which combine alchemical reading material with more practical glassmaking texts.

Fatma Çiftçi (Bilecik, Turkey)
David Whitehouse Research Residency for Artists
8-19 July 2024
Fatma Çiftçi is a Turkish artist and scholar currently pursuing a PhD in fine arts and glass at Dokuz Eylul University in Izmir, Turkey. She will explore The Rakow Research Library’s collection, focusing on the use of lustre-painted glass techniques and tracing the existence of lustre-glass technology in medieval stained glass.

Peadar Lamb (Cork, Ireland) and Debbie Dawson (Cork, Ireland)
Instructor Collaborative Residency
9-20 September 2024
Award-winning Irish glass artists Peadar Lamb and Debbie Dawson will work together to explore different methodologies for working with glass. They plan to combine traditional stained glass painting techniques with contemporary processes, firing photographic transfers on to a range of coloured and float glass as they explore historic themes including the connection between Irish people and the Native American Choctaw Nation.

Catie Newell (Michigan, US)
Artist-in-Residence
16 September-18 October 2024
Trained as an architect and fabricator, Catie Newell will focus on developing a series of kiln castings, relying on geometry, thickness and colour to emphasise the difference between light transmittance and absorption, drawing inspiration from the Museum’s collection and The Rakow Research Library.

Ross A Delano (New York, US)
Artist-in-Residence
23 September-25 October 2024
Corning-based artist Ross Delano has been a glassmaker and instructor at The Studio for more than a decade. He will use The Studio’s resources to create handmade glass lighting based on his love of the sky, aviation and space.

Percy Echols II (Pennsylvania, US)
Black, Indigenous, and People of Colour (BIPOC) Residency
23 September-25 October 2024
Percy Echols II is a Pittsburgh-based artist, alchemist, and educator at the Pittsburgh Glass Center. He is also the creator and host of the podcast Taming Lightning, a series of conversations exploring plasma and neon light, the focus of his work. During his residency, he proposes to extend his practice using the hot shop for glassblowing, layering colours, fire polishing and assembly; the cold shop for engraving and finishing,
and the kiln room for electrode fusing and complicated assembly. He will be among the first visiting artists to work in The Studio’s new Neon Shop.

Jason MacDonald (California, US)
Artist-in-Residence
28 October–29 November 2024
Jason McDonald has a passion for historical Venetian glassmaking and uses these techniques to speak about the barriers that BIPOC people face in accessing creative spaces. During his 2024 residency he will develop a new body of work that combines glassblowing, pattern-making, fusing, coldworking and hot-casting to create inclusions.

Runa Kosogawa (Takayama, Japan)
Artist-in-Residence
28 October-29 November 2024
Runa Kosogawa is a Japanese artist whose work is inspired by the small things and events she observes in everyday life, which are easily taken for granted. During her residency she will continue her work creating monochromatic black flowers to direct attention to the lives of people who have been neglected by history. She will also extend her Weaving Life Project 2021 by blowing a series of 40 glass balloons of Pyrex glass, each engraved with the date and place of their creation and suspended by hand-dyed silk threads made with local wild plants.

The Corning Museum of Glass is at One Museum Way, Corning, NY 14830, US. Website: https://home.cmog.org

Image: The new lounge facilities at the Wendell Weeks & Kim Frock Residency Center.

British Glass Biennale 2024 deadline extended

Remember that applications are now open for the last British Glass Biennale to be organised by the Ruskin Mill Land Trust at The Glasshouse in Stourbridge, before the Glass Art Society takes over for the 2026 event.

The deadline has been extended to midnight on 3 March 2024.

The British Glass Biennale is the foremost juried exhibition of excellence in contemporary glass by artists, designers and craftspeople working in the UK and British artists working abroad. It is the flagship exhibition within the International Festival of Glass.

The British Glass Biennale 2024 is open to artists, designers, craftspeople and students working in all areas of contemporary glass practice or using glass as a key design element. The emphasis is on new work demonstrating the highest level of excellence in design, creative imagination and technical skill.

Applicants must:

  • have been living and working in the United Kingdom of Great Britain and Northern Ireland for the last two consecutive years; or
  • be living, working or studying abroad but possess a British passport and have previously lived in the UK for a minimum of 15 years; or
  • be studying on glass arts course in the UK.

Each artist can submit up to three pieces for consideration. Each piece must be predominantly made of glass but can incorporate other materials. The work must have been made since 1 March 2022 and all work selected for display must be for sale. A range of prizes will be awarded.

Prizes:

British Glass Biennale Award for Best in Show

Glass Sellers’ Arts and Crafts Awards – Main and Runner Up

Glass Sellers’ Student Awards – Main and Runner Up

NEW: Bullseye Living Edge Award

The Glass Arts Society International Artists’ Prize

NEW: Glass Painters and Glaziers Award

The Guild of Glass Engravers Award

People’s Prize sponsored by Warm Glass

Young Collectors’ Award sponsored by The Glass Sellers.

The application fee is £15 (or £10 for a student).

The jury comprises: Martin Donlin (architectural glass artist); Candice-Elena Greer (chair)  (curator); Nadania Idriss (vice chair of the Glass Art Society and chair of Berlin Glas e.V.); Annie Warburton (writer and specialist in craft and design, CEO at Cockpit Arts); Tanya Raabe-Webber (artist, consultant, mentor), and Matt Durran (curator).

The British Glass Biennale opens on 23 August 2024 and closes on 28 September 2024.

Address: British Glass Biennale, The Glasshouse, Wollaston Road, Amblecote, Stourbridge, West Midlands DY8 4HF.

Submit your application via this link.

Find out more via the website: https://www.glassbiennale.org

Last chance to apply for Enchanted Garden outdoor show

Artists are invited to submit their proposals on the theme of ‘Water and Fire’ to participate in the international sculpture event ‘The Enchanted Garden 2024’, held in Jodoigne, Belgium. The outdoor exhibition and sale of work integrates sculptures with other artistic expressions, such as poetry, music, dance and theatre.

A book of poems with photographs of the sculptures will form the event catalogue.

During the summer of 2024, ‘The Enchanted Garden’ will take place for the eleventh time in a structured, natural sculpture garden, promising water, contrasts and surprises galore.

The venue is located in Belgium, on the language border between Jodoigne, Hoegaarden and Tienen; halfway between Brussels, Liège and Namur and on the ‘RAVEL’ cycle path connecting Leuven, Tienen, Hoegaarden, Jodoigne and Namur.

More details are available on the website.

For more information phone +32 (0) 493. 628 540.

Photos of proposed sculptures or proposals on collaborations should be sent to the organiser Ignace Clarysse by email to:  info@ignace-clarysse.com

Submission deadline is Monday 19 February 2024.

Image: Detail of ‘Seeing red’ (stained glass and metal) by Amber Hiscott, from the 2023 event.

Work placement opportunities in stained glass

The Worshipful Company of Glaziers and Painters of Glass has announced two awards that will provide successful applicants with work placements in stained glass studios of national or international repute.

The Lever Award 2024 provides a 30-week placement and pays a total of £11,550 (or £385 per week). There is also a training fund of £1,000.

This award is open to a recent graduate, a promising trainee, or other individual interested in broadening his or her experience in stained glass, with a view to making a career in this field. It is open to those interested in becoming a stained glass conservator or stained glass artist. Students and practitioners from other conservation/arts disciplines are invited to apply. Applications are invited from individuals within five years of completion of their initial training in/introduction to the craft.

The Ashton Hill Award 2024 is a 15-week placement and pays a total of £5,775 (£385 per week), plus there is a training fund of £750. This award is also open to a recent graduate, a promising trainee, or other individual interested in broadening his or her experience in stained glass, with a view to making a career in this field. It is open to those interested in becoming a stained glass conservator or stained glass artist. Students and practitioners from other conservation/arts disciplines are invited to apply. Applications are invited from individuals within five years of completion of their initial training in/introduction to the craft.

All candidates must be resident or employed in the UK. Applicants may apply for both awards.

The application deadline for both awards is noon on 27 March 2024, with interviews on 17 May 2024.

Further details and information on how to apply via this link.

Waxing lyrical

Anja Isphording relocated her contemporary glass practice from Germany to Canada when she moved in 2000. She is a respected lost wax kiln caster whose work has been exhibited internationally. Linda Banks finds out more.

You are known for your impressive cast glass sculptures. What led you to start working with glass?

After high school I had to decide what to do next. I knew I wanted and needed to do something with my hands, but didn’t quite know in which direction to go.

We had a little, engraved antique glass in the china cabinet that we inherited from my grandmother and I thought that was just so intriguing! It turned out that glass engraver was actually a real occupation (I had never heard of it) and I started an apprenticeship at Glasfachschule Zwiesel in 1983.

 

‘#167’ (2018). Photo: Raymond Lum.

What glass techniques have you used and which do you prefer?

I started with the three-year apprenticeship in engraving and also used enamels on my glass for the first few years. I also took classes in glassblowing, hot sculpting, stained glass, sandblasting and flameworking.

When I started kiln casting with the lost wax method, I knew that this was the right technique for me; I prefer the slow process of working on a wax model and the deliberate decision-making along the way. In addition, I seem to like working on my own. I do love coldworking and all my cast pieces are extensively cut, engraved and polished.

Excavation process showing the glass emerging from the mould. Photo: Anja Isphording.

What is your creative approach? Do you draw your ideas out or dive straight in with the materials?

I used to draw out my ideas first, but these days I start with the warm wax straight away, maybe doing a drawing along the way. Often, I start with a certain idea and then completely change my mind while I’m working on the model, as the piece develops.

This wax model shows the intricate details of Anja’s cast sculptures.

What is your favourite tool or piece of equipment and why?

My trusty old Merker engraving lathe is my favourite piece of equipment. It accompanied me from Bavaria to Helminghausen to Vancouver over the course of 40 years and it still works great, even though I don’t treat it very nicely.

‘#179’ was completed in 2021. Photo: Mark Whitehead.

Where do you show and sell your work?

Heller Gallery in New York has represented my art for over 20 years.

‘#193’ is a recent piece, produced in 2023. Photo: John Watson.

What advice would you give to someone starting out on a creative career?

You have to be patient and prepared to be in it for the long haul. Apply as often as possible to competitions and exhibitions with professional images. Also use those images on social media.

‘#153’ (2014). Photo: Raymond Lum.

Do you have a career highlight? What has helped your career?

My scholarship at the Creative Glass Centre of America, Wheaton Village, was very important because, during my stay in 1995, I finally figured out how to successfully cast glass in the lost wax technique. I had access to optical glass and it worked beautifully!

I’d also like to highlight how crucial it was for my career that Heller Gallery in New York added me to their artist’s roster and I’m grateful for their support and consistency.

‘#187’ was made in 2022. Photo: John Watson.

About the artist

Anja Isphording with a wax model. Photo credit: Anja Isphording.

Following her apprenticeship in glass engraving, Anja Isphording studied glass design at Fachschule Zwiesel, Germany, from 1986-1988.

She set up her own studio in Helminghausen, Germany, which she ran between 1988 and 2000, subsequently moving to Vancouver, Canada, where she established a new studio.

During her time in Germany, she won scholarships to the Academy of Applied Arts, Prague, Czech Republic (1993), the Creative Glass Center of America, Wheaton Village, NJ, US (1995)

Pilchuck Glass School, WA, US, (1998-2001).

She has exhibited internationally.

Find out more about Anja and her work via her website: https://www.anjaisphording.com

Main feature image: ‘#145’ (2012) comprises kiln-cast glass made using the lost wax technique and multiple castings. Photo: Raymond Lum.       

Values exhibition opens at S12 gallery

In the exhibition Values, the Estonian artist Kati Kerstna raises questions about what is truly valuable. How valuable, diverse, or poor would the world, or a specific environment, be if certain elements were missing? Or if there were more of them? Would existence even be possible at all?

Kati Kerstna is known for combining artistic expression and environmental advocacy, creating thought-provoking works using glass, light and mixed media. Since graduating from the Estonian Academy of Arts in 2001, she has been featured in numerous international exhibitions, addressing themes such as environmental pollution, global warming and deforestation through her innovative installations.

In the exhibition at S12 Gallery in Norway, Kerstna presents the works Values 1 and 2, two large hands made of glass hanging from the ceiling, in the dark gallery space. The first work, ‘Values 1’ is about bees. Kerstna emphasises that it may sound like a cliché, and everyone has heard it many times before, but without bees, life would not be possible on this planet.

Staying alive depends on the diversity of species. In 2001, 76 different plant species were identified and recorded in a square metre of Laelatu wooded meadow in Estonia, making it the second most diverse in the world in terms of species richness. ‘Values 2’ presents the plants of this famous square metre.

Through this exhibition, Kerstna challenges viewers to reflect on the consequences of imbalance in natural biological diversity and its impact on life as we know it today.

On Saturday 10 February 2024, at 2pm, Kati Kerstna will hold an artist talk. In addition to discussing her own work, she will present a selection of Estonian glass artists.

The exhibition runs until 17 March 2024 at S12 Gallery, Bontelabo 2, 5003 Bergen, Norway.

For more information visit the website: https://www.s12.no/en/

Image: Detail of the ‘Values 1’ installation.

Collect Fair celebrates 20 years of craft and design

2024 marks 20 years of the Collect fair as the leading authority on collectable contemporary craft and design, presented by the UK’s Crafts Council and taking place at London’s Somerset House from 1 to 3 March 2024 (previews on 28 and 29 February).

Launched in 2004 as the first international fair dedicated to contemporary craft and design, Collect is committed to, and continues to raise the profile of, exceptional contemporary craft to the collectors’ market.

At a time when contemporary craft has never been more sought after, Collect continues to offer an unparalleled opportunity to acquire new, museum-quality work from living artists internationally, all made within the last five years, with many pieces commissioned especially for the fair.

Close to 40 specialist galleries from across the globe, representing over 400 artist makers, have been selected by an expert advisory panel for this milestone edition.

The range of disciplines and materials featured at Collect includes glass, ceramics, lacquer, furniture, art jewellery, metalwork, textile and fibre, wood and paper, plus pieces embracing more unusual materials, such as resin, mica, corn-starch and plastics, along with reused, repurposed and recycled materials.

Alongside the international galleries, Collect Open, the fair’s platform for experimental proposals and installations by individual artists and collectives, will present 14 exciting new projects by artists hailing from Canada, Portugal and across the UK, including Northern Ireland. Collect Open participants are selected by a separate expert advisory panel and are invited to produce work that challenges material, social, political or personal perceptions.

“Reaching this milestone edition reinforces not only Collect’s pivotal position as the authority for contemporary craft and design but also strengthens London as a leading cultural destination for the craft and design sector. The fair has continuously pushed boundaries to bring the best in class of new artworks to the market allowing collectors to buy with confidence. The diverse range of galleries for this edition, representing the most exciting international artists making work today, provide yet again exceptional rich content to explore,” commented Isobel Dennis, Collect Fair Director.

The Collect 2024 talks programme will bring together leading experts and voices to celebrate craft, explore contemporary issues and inspire audiences. View the full programme.

Among the participants celebrating glass art and lighting, Vessel Gallery will be presenting: Steven Edwards, a first-time exhibitor to Collect, represented internationally and in the Chatsworth collection; Olivia Walker, who will be creating a triptych for Collect which is her biggest wall installation to date; a new series by Enemark & Thompson, plus new glass sculptures of shipwrecks  from James Devereux.

Bullseye Projects, from the US, will debut collaborative work by Joshua Kerley and new artist Guy Marshall-Brown using combining Kerley’s innovative pate de verre works with Marshall-Brown’s expertise in 3D printing and rapid prototyping.

Collect Open will feature glass and metals by Browning Lewis (Karen Browning and Jon Lewis), as well as glass work by Sophie Southgate, who recently completed her MA in Ceramics & Glass at the Royal College of Art with the support of a Queen Elizabeth Scholarship Trust Britford Bridge Trust Scholarship.

Sophie Southgate’s glass work ‘Acid’.

Collect event details

Thursday 29 February 2024
Private View Day 11.00-18.00 (invitation holders and tickets available to purchase) – £60.00
Private View Evening 18.00-21.00 (invitation holders and tickets available to purchase) – £38.00

Friday 1 – Sunday 3 March 2024 – open to the public
Open 11.00-18.00
General Admission: £27.00; Concession: £21.00

Tickets available at https://www.craftscouncil.org.uk/collect-fair

Location: Somerset House, Strand, London, WC2R 1LA

Main image (left to right): ‘Inversion’ (2023), glass, nylon hardware by Scott Benefield (represented by Design-Nation, UK); ‘Stuck Up’ (2023), silver plate, copper, pewter, ceramic, wax, graphite and steel by David Clarke (represented by BR Gallery, China) and ‘Light It Up’ (2023), earthenware, glaze, lustre, by Mathieu Frossard (represented by Galerie REVEL, France).

Upcoming exhibition celebrates Kathryn M Holford

Original photography by Mark Rowden.

In March 2024 the life and work of leading glass designer and artist Kathryn M Holford (1962-2023) will be highlighted in an exhibition at Fen Ditton Gallery, Cambridge, where she was born.

The exhibition has been organised in collaboration with Kathryn’s husband Mark Rowden, and will showcase some of Kathryn’s most significant works in glass and paint, including a rare re-issue of a limited-edition vase made in collaboration with master glassmaker Bob Crooks, with whom Kathryn worked with on many of her designs.

Kathryn was an accomplished artist, sculptor and award-winning international designer. Born on 7 June 1962, in Fen Ditton, Cambridge, her artistic journey began under the alias Katy Holford. Accepted to the Royal College of Art, she demonstrated exceptional talent, earning recognition early in her career and awarded the Rosenthal Young Designer of the Year Award in 1988.

Kathryn etched her name among renowned brands, contributing her skills to household names and luxury brands like Wedgwood, Atlantis Crystal and Perrier Jouet. Her bespoke pieces and sculptures grace the rooms of The Savoy, Claridge’s and Malmaison Hotels, as well as Royal Palaces and private residences globally. They have also appeared in numerous television shows and films, including Cumbria Crystal designs in James Bond and Downton Abbey.

In 2004, Kathryn embraced a new challenge by winning the Eureka initiative sponsored by Laurent-Perrier. Subsequently, she took on the role of CEO and Creative Director at Cumbria Crystal, where she oversaw a bustling studio and continued to create beautiful designs in glass. Her dedication and innovative approach earned her accolades and awards, solidifying her legacy in the design world.

During Kathryn’s years of glass design, she worked with one of the UK’s most established glassmakers, Bob Crooks. Bob has a cast designed by Kathryn in his studio and enough of her materials to make a limited edition of 10 vases, which will be available exclusively at the exhibition.

Kathryn’s artistic journey reached a turning point in 2016 when, upon moving to Normandy with Mark, she decided to step away from the pressures of the commercial design world. In her diary she wrote: ‘I discovered the latent desire to paint… The desire had been pushed down so deep when I was very young that it took some 50-odd years of life, therapy, and a need for a life change to surface… Being a beginner again was hard. I had been at the top of my profession just a few months before. My ego was in outrage. However, what I loved the intimacy of painting. It is just me and the canvas. No clients, marketeers, factories, and workshops to get in between me and my creative process.’

Fen Ditton Gallery manager, Hannah Munby commented, “It feels very poignant to be celebrating Kathryn’s life with this exhibition here at Fen Ditton Gallery, not only because it is remarkably in the village where Kathryn was born and spent her first years, but also because she and Mark were regular visitors and supporters of the gallery before she passed away. Kathryn was always enthusiastic about the work we did here, so it feels right to honour her with this show, back in the village where it all began for her.”

Fen Ditton Gallery (est. 2018) is a contemporary art gallery on the outskirts of Cambridge, run by mother and daughter duo, Lotte Attwood and Hannah Munby, with curatorial and programme advice from independent curator Amanda Game.

The exhibition is on from 9 March to 1 April 2024 at Fen Ditton Gallery, 23 High Street, Fen Ditton, Cambridge CB5 8ST, UK. https://www.fendittongallery.com

Image: Kathryn M Holford working with Bob Crooks. Photo: Mark Rowden.