The eighth edition of the prestigious John Ruskin Prize award invites entries from artists, designers and makers worldwide, on the theme, ‘Patience in Looking, Truth in Making’. Selected artists’ work will be exhibited at Trinity Buoy Wharf in London from 29 January – 8 February 2026.
Celebrating the legacy of John Ruskin, the Prize champions work that reflects his enduring belief in careful observation, skilled making, and social engagement.
Glass artists working in all glass techniques are invited to apply.
A total of £9,500 in prize money will be awarded, including two new prizes generously supported by The Chelsea Arts Club Trust and The Ruskin Mill Trust.
Up to 50 artists will be shortlisted by a panel of industry experts including sculptor Julian Wild, artist and Director of the Slade School of Fine Art, Mary Evans, architecture and design historian, Neal Shasore, and CEO of The Box, Plymouth, Victoria Pomery OBE.
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).
Julia Gonyou painting in the studio.
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.
2024 BSMGP Discussion Day Q&A at Glaziers Hall, featuring (left to right) Bethany Wood, Amber Hiscott and Julia Gonyou.
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.
Samples in progress, made from etched, mouth-blown flashed glass, during Judith Schaechter’s advanced workshop in 2024.
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.
Tangled-up in Blue’ tote, originally painted grisaille fired on float glass, made for a Shark Allies collaboration, 2021.‘Manta Ray’ (painted grisaille fired on float glass), made for a Shark Allies collaboration, 2021.
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.
‘Bottles Deconstructed/Beer in the Making’, uses kiln-formed recycled beer bottles and is located at the Kernel taproom.
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.
Detail of ‘Bottles Deconstructed/Beer in the Making’.
‘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.
‘Nature Unsettled’ features etched and glazed mouth-blown flashed glass.
‘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.
‘Stricken’ features painted grisaille fired on opal white glass.
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.
‘Knotted’ (2017) is made from painted grisaille and enamel fired on machine-made glass.
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.
The Contemporary Glass Society (CGS) is excited to launch the 2025 Graduate Prize and New Graduate Review magazine competition for graduates from across the UK and, for the first time, from European courses, too.
This prestigious competition is designed to support graduates as they embark on their exciting journey in the world of glassmaking, with a package of prizes including cash, CGS memberships, books, vouchers and inclusion in the New Graduate Review publication and Neues Glas – New Glass: Art & Architecture magazine. Full details of prizes are given below.
This exciting opportunity, which allows graduates to showcase their glass work on a global stage, is made available thanks to the continued generosity of the Worshipful Company of Glass Sellers of London Charity Fund, Professor Michael Barnes MC FRCP, Alan J. Poole and our esteemed sponsors: Creative Glass, Pearsons Glass, Warm Glass, and Neues Glas – New Glass: Art & Architecture magazine.
Why enter?
Selected graduates will receive:
Worldwide exposure: Your work will be featured in the Glass Sellers’/CGS New Graduate Review magazine, reaching a global audience of industry professionals and enthusiasts. This 16-page publication will be circulated extensively to colleges, museums, and CGS members, as well as appearing in Neues Glas – New Glass: Art & Architecture (circulated worldwide). Both publications will be distributed in November 2025.
Prizes: There will be a First Prize, Second Prize, two Runners-up Prizes, and several Commendations.
Career Support:New Graduate Review provides an excellent platform to kick-start your career, as many previous winners have gone on to become respected professional glassmakers.
Prizes:
Winner/First prize: £500 cash £150 vouchers from Creative Glass UK A promotional package, including cover and feature in the New Graduate Review Two years’ CGS membership A year’s subscription to Neues Glas – New Glass: Art & Architecture magazine Alan J Poole will provide a selection of glass-related books.
Second prize: £150 cash £100 voucher from Warm Glass A year’s subscription to Neues Glas – New Glass: Art & Architecture magazine One year’s CGS Membership.
Two Runners-up will each receive: £50 vouchers from Pearsons Glass A Year’s subscription to Neues Glas – New Glass: Art & Architecture magazine One year’s CGS membership.
There will also be an online exhibition on the CGS website. This will show all work featured in New Graduate Review 2025.
How to enter
Graduates are invited to submit their best work via the Graduate Review 2025 digital form on CuratorSpace. A panel of experts will select the prize winners based on quality and concept. Winning entries will be announced in mid-late August 2025.
Eligibility
You must be graduating from a European* accredited course in 2025. Work must consist of at least 50 per cent glass. You must have completed your degree or training within the past year. You must be a CGS Member (you may join with a student membership).
*Note: European-accredited courses are courses based in any of the following countries listed below, recognised by the United Nations as European. Please note that applicants from courses based outside of these countries will not be considered.
Albania, Andorra, Austria, Belarus, Belgium, Bosnia & Herzegovina, Bulgaria, Croatia, Czechia, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Iceland, Ireland, Italy, Latvia, Liechtenstein, Lithuania, Luxembourg, Malta, Moldova, Monaco, Montenegro, Netherlands, North Macedonia, Norway, Poland, Portugal, Romania, Russia, San Marino, Serbia, Slovakia, Slovenia, Spain, Sweden, Switzerland, UK, Ukraine, Vatican City.
If you’re not already a member of CGS, you can join to take part in this competition via this link. In addition, you’ll become part of a dynamic contemporary glass community and receive valuable membership benefits.
The Contemporary Glass Society (CGS) is delighted to invite UK-based CGS members to apply to exhibit at the Pyramid Gallery in York once again, as the specialist gallery celebrates 30 years of selling glass art.
The new exhibition, taking place in Autumn 2025, has the theme of ‘The Four Seasons’, as 2025 also marks the 300-year anniversary of Antonio Vivaldi’s four violin concertos of the same name.
This timeless and universally resonant theme speaks to colour, pattern, the natural word and, of course, the Arts. The theme allows us to engage with each of the seasons, the cycle of the year, the colours and patterns of nature, and the rich symbolism of time’s unfolding.
Whether you are moved by Vivaldi’s iconic music, or the seasons and the seasonal shifts in your own environment, this exhibition offers a beautiful canvas to showcase your creative interpretations in glass.
This special opportunity is open exclusively to CGS members based in the UK.
Submission deadline: 31 May 2025.
The exhibition opens on 6 September and exhibiting artists are encouraged to attend on opening day. It runs until 1 November 2025.
Submission criteria:
Open to UK-based CGS members only.
Artists may submit up to three pieces, or a group of small works (one form per piece).
Work must be at least 50% glass, made after 1 January 2021.
All work must be for sale.
Wall and plinth-based works are welcome.
Work must withstand heat and light – environmental factors at the gallery cannot be controlled.
Artists must be able to deliver selected works by 1 September 2025.
All unsold pieces will be returned by the end of November 2025.
Selection process:
A panel including Terry Brett (owner of the Pyramid Gallery), a CGS Board Member, and an invited independent artist will select a diverse range of works, representing a variety of glassmaking techniques, from the images supplied by artists.
Once again top-quality craft and design will be showcased at venues across London during London Craft Week, from 12-18 May 2025. Featuring 1,000+ makers, the festival presents over 400 exhibitions, masterclasses, workshops and demonstrations.
Glass will be featured as part of ‘The Cockpit Edit: An Exhibition of Leading and Next Generation Makers’ (12-16 May), hosted by Cockpit Bloomsbury (Cockpit Yard, Northington Street, London, WC1N 2NP), one of the two locations of Cockpit Studios – supporting a creative community of over 175 independent businesses. More than 100 pieces, including glass, textiles, jewellery, wooden vessels, sculpture and wearable art will be available to view and purchase in Cockpit’s first ever selling exhibition. CGS board member Katharine Coleman MBE (glass engraver), Michele Oberdieck (glass blower), Theo Brooks (glass blower) and Helen Brough (painted glass/mixed media) are taking part. There will also be demonstrations by makers in their studios. For example, Helen Brough will demonstrate glass painting on 15 May 3.30-4pm. The exhibition is free to attend (registration required) and demonstration tickets (with same-day admission to the exhibition) are £12.50, to support Cockpit’s artists. There is a private view on 12 May and the public can attend from 13-16 May (12-6pm daily). Find out more and book via this link.
Glass master Elliot Walker will be among speakers at the V&A Museum in South Kensington on 13 May, as part of its second Craft Symposium (taking place from 10.30-13.00 in the Hochhauser Auditorium at the V&A, Cromwell Road, London SW7 2RL). His presentation, ‘Holy Sheet’, will cover the importance of traditional sheet glass making as a craft and how he intends to use and explore the process, physically and conceptually, in his work. In tandem with the on-site event, it is possible to book onto a live stream of the Symposium. Find out more about all the speakers and book via this link.
There will be various international pavilions presented by different countries, with the South Korean pavilion (at Hazel Gallery, 4 Cromwell Place, London, SW7 2JE) including works by two glass artists, Keeryong Choi and Kyouhong Lee in the Soluna Art Group exhibition ‘Landscape of Materials’ from 29 April until 18 May.
These are just a handful of highlights. Full details of everything happening at London Craft Week are available here, including the programme and map of locations taking part.
Canadian glass maker and educator Bob Leatherbarrow explains how he applies his scientific mind to the challenges of creating with glass powder, and describes how his ‘self-directed residencies’ have resulted in a variety of new techniques.
True confession: my 30-year artistic journey creating with textured, kiln-formed glass powders started by accident. When unexpected (and, I confess, unwanted) small cracks started appearing occasionally in my glass powder surfaces, I viewed them as failures and tried to get rid of them. However, they persisted, and I eventually decided that, instead of trying to ‘fix’ them, I should embrace them. So, I turned my sights to learning how to develop cracks consistently and predictably across powder surfaces. Drawing on my training as a scientist, I spent several months experimenting and, eventually, was able to create, at will, a pervasive network of cracks throughout an entire layer of glass powder (Figure 1).
Figure 1. ‘Beginnings’ is a nested bowl representative of my initial textural work with blended powders.
By experimenting, I had learned that if I sifted powder onto refractory fibre paper, saturated it with water and then manipulated the paper and powder, small cracks would develop throughout the powder. Then, if I placed the paper and powder on a kiln shelf and capped it with a layer of sheet glass, surface tension would widen the cracks during firing to full fuse. The result was an organic, crackled texture in the powder that was bonded onto the sheet glass.
My day job as a geologist involved using textures to interpret the origin of rocks, so these new glass powder textures resonated with me. Textures are important. They tell a story, a history, and help to inform a reality.
So began my journey down the rabbit hole of exploring kiln-formed glass powder textures. Ultimately, I investigated an entire warren-full of glass powder texture ideas, with many side trips down branching tunnels along the way.
The first stop involved blending and layering different opal powder colours to create a painterly effect that is entirely different to the effect of layering coloured sheet glass. My learning curve involved realizing that dark-coloured powders overpower light colours and that the sequence of layering powder colours is critical. I knew that understanding and using the chemical reactions between colours would allow me to outline patterns within the powders, with great effect (Figure 2).
Figure 2. Chemical reactions at the interface between lead in Bullseye’s Dense White and sulphur in French Vanilla result in a fine dark line that outlines the texture in this shield.
The next stop down in the warren occurred when my studio was closed for a year because of a move and massive renovation. To inaugurate my new studio, I decided to engage in a two-month ‘self-directed residency’, during which I would leave my comfort zone and try to develop new powder texture techniques. My training as an exploration geologist, and my background in science, project management and risk mitigation, guided me throughout the residency. I used the ‘scientific method’ to conduct experiments to determine critical factors in developing new textures. I kept the tests small and focussed on problem solving rather than on making precious pieces. And I wasn’t discouraged when tests failed; I learned and gained experience from each test.
Figure 3. Rounded ‘pebbles’ rimmed by darker colours appear to float in clear glass.
I developed three new styles of textured powders during my initial residency. The first was a ‘pebbled’ texture, consisting of round shapes floating in clear glass (Figure 3). Each of the pebbles had a darker coloured skin that highlighted the shape. The second style consisted of very regular and controlled linear patterns (Figure 4) that radiated from a central point and generally comprised alternating coloured strips. The third style consisted of radiating strips with more irregular organic edges (Figure 5).
Figure 4. Another derivation of the crackled texture involves radiating linear patterns, as shown in these ‘Mandala Clams’. Photo: John Cameron.Figure 5. Textured powders form linear patterns with organic outlines around the rim of this deep vessel.
When I next ventured down the rabbit hole, I investigated the distortion of textured powders when pieces were slumped into elongated forms. The collection of goblets in Figure 6 illustrates how each of the three textures described above stretch when slumped through a drop-out mould.
Figure 6. Elongation of textures is shown in this collection of goblets called ‘The Usual Suspects’.
In another step I took in my textural journey down the rabbit hole, I incorporated sinuous, coloured veins and patches of different coloured textured powders. These features directly reflected my geological background (Figure 7).
Figure 7. Patches of colour, subtle veining, and blended colours in ‘Kilfenora’ reflect on my background in geology, and recognising and interpreting rock textures.
For years, I have been creating all the above signature textures using opal powders. However, during my most recent investigations, I revisited the idea of creating with transparent powders. During previous attempts with these, I had encountered problems with uneven colour saturation and an undesirable frosted appearance, due to trapped air. I overcame these problems after a round of experimentation, which resulted in a new series of brightly coloured pieces (Figures 8 and 9).
Figure 8. A collection of deep bowls from my recent ‘Homecoming Series’ highlights new work incorporating transparent powders.Figure 9. Transition of transparent reds to marigold, with veining in various blues, in this glass bowl from the ‘Homecoming Series’.
Although textured powders and the stories they tell are the dominant themes of my glass art, I do have other influences. Many pieces reference my background as a geologist. My desire in these explorations is to capture the elegance of natural features. There are two viewpoints to most of my pieces: one is the overall appearance when viewed from a distance and the other is the detail apparent only when viewed up close. I encourage the viewer to look carefully, make observations, and ponder the origin of each piece.
Figure 10. ‘Mount Harris’ is a sculpture of a stylized mountain incorporating strip construction of pebble-textured sheet glass.
The sculpture titled ‘Mount Harris’ (Figure 10) distils the complexity of a mountain into a series of lines and planes. The tryptic wall piece titled ‘Drift’ (Figure 11) portrays the elegance of offset segments of the Atlantic seafloor caused by spreading along the Mid Atlantic Ridge. Sometimes my pieces represent natural processes, such as the broken bowls and waveforms in ‘Flotsam’ (Main feature image).
Figure 11. The tryptic ‘Drift’ represents the simple but elegant geometry of global-scale geological features, such as the Mid Atlantic Ridge.
Much of my artwork embraces the history of glass made as functional objects for serving food and drink. One of my roles as an artist is to honour that functional past by making pieces that shine a light on the qualities of the medium of glass, highlight its delicate, yet enduring, nature, and, in doing so, make the most beautiful objects that I can. My installation ‘Brunch’ (Figure 12) is an homage to four artists who have influenced my career: William Morris, Andy Goldsworthy, Piet Mondrian, and Lawren Harris. I made a place setting for each artist that reflects his style and philosophy. The installation also honours the simple daily pleasure of sharing a meal with family and friends.
Figure 12. ‘Brunch’ is an installation that honours artists who have influenced me. Clockwise (from the top) are place settings for Andy Goldsworthy, Piet Mondrian, William Morris, and Lawren Harris.
Another major, and thoroughly enjoyable, part of my practice as a glass artist is education. To this end I have: taught workshops and international online and in-studio masterclasses; written e-books and numerous magazine articles on my signature powder techniques; taught techniques via video, and helped individuals with their questions on social media.
My journey as a glass artist has truly paralleled my career as an exploration geologist. I am always looking for new ways to work with powder, to play the ‘what if’ game and see where that next experiment leads me. Every once in a while, I even think I have powders all figured out. Then something happens, usually something completely unexpected. Almost immediately, I feel a tap on my shoulder and turn around, only to be greeted by a White Rabbit pointing to an unexplored rabbit hole. Like Alice, I am curious and I eagerly descend to see where it leads.
About the artist
Bob Leatherbarrow.
Bob Leatherbarrow established Leatherbarrow Glass Studio in Calgary, Canada, in 1988 and has created original, kiln-formed glass ever since. Known for his innovative styles, techniques, and designs, Bob has taken an experimental approach to developing unique textures and colour palettes using glass powders. His kiln-formed glass bowls and sculptures explore the subtle hues and delicate beauty of naturally occurring textures and encourage the viewer to ponder their origin.
In 2008 Bob moved his studio to Salt Spring Island, British Columbia, Canada.
Find out more about Bob Leatherbarrow via his website.
Main feature image: Small, broken bowls are ‘washed up’ on a sandy shore in this piece called ‘Flotsam’. Bob invites the viewer to ponder their origin. All images by Bob Leatherbarrow except Figure 4.
Many of us have been enjoying the third series of BBC1’s popular ‘Make it at Market’ (available now on iPlayer), featuring two stained glass artists among the various creative crafters this time. Now there is a new podcast series to complement the programmes, hosted by the TV series’ presenter Dom Chinea.
Called ‘My Crafting Life’, the podcasts share the real stories behind creative careers, with Dom having inspiring chats with makers, mentors, and creatives who’ve turned their passion into a profession.
Episode 5 (launching on 22 April 2025 at 1pm) features stained glass artist Charlotte Savill. She talks about how her grief, and cold-water swimming, sparked the start of a creative journey that led her to leave her day job, and build a sustainable in business.
Other interviewees include ornamental glass artist Dave Smith MBE, who is a master of glass embossing, gilding and signwriting.
Listen to all episodes on Spotify or Apple Podcasts via the links below:
Contemporary artworks by internationally recognised, award-winning glass artist Hannah Gibson will be shown alongside outstanding glass objects from the Robert Opie collection at the Museum of Brands in London this summer.
Opening on 30 May 2025, the ‘Glass Renewed’ exhibition brings together Hannah Gibson’s ‘Recycling Narratives: Whispering Sweet Nothings’ series, exhibited for the first time in its entirety, with pieces from the Robert Opie collection, such as an ancient glass vessel, Victorian Codd bottles and a contemporary rarity: an exclusive limited edition Johnnie Walker Blue Label Ultra.
Robert Opie is a consumer historian who founded the museum in 1984, when it was originally located in Gloucester. As the collection expanded, the museum relocated to Notting Hill in London.
Glass Renewed will explore the materiality and sustainability of glass, delving into the history of glass making, the beauty of glass, and the future of its production.
‘Recycling Narratives: Whispering Sweet Nothings’ explores materiality, sustainability, and the hidden narratives within everyday objects. Central to Hannah’s practice is the innovative use of recycled glass and found materials – from television screens and Jägermeister bottles to car windscreens. While the form of the glass is transformed, she strives to retain and honour as much of the original material as possible, allowing its past life to remain present in the final work.
Glass Renewed will also feature information and samples from sustainability studies in glass bottle manufacturing, currently undertaken by global drinks company, Diageo. Many of the themes in the artwork resonate with the Museum’s Sustainability workshop.
Hannah Gibson commented, “Exhibiting at the Museum of Brands is an absolute joy and an incredible honour! It is a magical oasis of pure delight and holds a very special place in my heart. I can barely contain my excitement – this is truly a dream come true!”
Alice Kain, Museum of Brands’ curator, stated, “We are thrilled to show Hannah Gibson’s artwork here at the Museum of Brands. Hannah’s work resonates with the collection, telling stories with iconic brands that make our visitors see the world around them in new ways. Hannah’s work reveals the process of glassmaking and aligns beautifully with the sustainability and consumer history workshops the museum offers. This exhibition will provide our visitors with a visual delight; showcasing Hannah’s stunning artworks alongside never-before-seen glass from the Robert Opie Collection.”
The Glass Renewed exhibition is on from 30 May-17 August 2025.
The Museum of Brands is at 111-117 Lancaster Road, Notting Hill, London W11 1QT. Opening times: Monday-Saturday 10am-5pm. Closed on Sundays. Find out more via the website.
Image: ‘The Recycling Narratives: Whispering Sweet Nothings’ series made by Hannah Gibson features figures made from all sorts of recycled glass. Photo courtesy of Museum of Brands.
Emma Baker’s love of glassblowing has taken her around the world to develop her practice. Her recent pieces focus on investigating the materiality of glass and she has recently set up her own studio space. Linda Banks finds out more.
What led you to start working with glass?
In 2010 I started on an Applied Arts course at Bournemouth University with the intention of becoming a silversmith or jewellery maker. The course was structured so that we worked with metals, clay and hot glass. We did sandcasting as our first introduction to hot glass which, if I’m completely honest, I wasn’t particularly interested in. However, six months later when we started learning the basics of glassblowing that was it, my desire to become a silversmith vanished and I was hooked by the challenges and allure of glassblowing.
What glass techniques have you used, and which do you prefer?
During my studies I was able to try many different glass techniques. I love the potential of coldworking glass and the visuals of cut glass, but I realised early on that I feel the cold too much to be in a coldworking studio. I prefer to work in 3D as opposed to stained glass or mosaic making, and the immediacy and characteristics of glassblowing are what make it my preference. However, I do enjoy the independence of kiln-forming and being able to put work in a kiln, leave the programme to run and see the result.
As time has passed and my relationship with glassmaking has evolved, I’m leaning towards more accessible forms of glassworking, like kiln work or engraving, as it provides a balance between being creative and life and work.
‘The Tale of Three Knots’ was made during a Masterclass run by James Maskrey at North Lands Creative. It was inspired by a tale of local fishermen and witchcraft in Lybster, it features three glass knots entwined with rope found on Lybster Harbour and placed inside a clear glass barrel wrapped with bicarbonate of soda glass canes to represent the barrel hoops. Photo: Angus Mackay.
Please tell us more about your creative approach. Do you draw your ideas out or dive straight in with the materials?
My inspiration comes from experiences and memories. In my early works, I created objects in glass that featured my memories of loved ones. Often I used found objects to convey the narrative of the piece. I would sketch these works on paper first, playing around with composition and design before creating and assembling the final components. My more recent works have been based on experimenting with the material, seeing how it can, and wants to, behave. For these pieces I sketch more abstractly, focussing on colour combinations, scale or quantity. As these works are all about the material’s characteristics, they are created almost exclusively in the studio, since the finer details of the finished piece isn’t predetermined.
Do you have a favourite piece or collection you have made? Why is it your favourite?
Early on I created two works in the ‘Idiosyncrasies’ series. These are made in memory of my grandparents and celebrate objects that have a strong association to them. I was hugely focussed on prioritising narrative through my glass work at this point and these pieces allowed me to challenge my skills in glassblowing at the same time. Trying to make an apple in glass that actually looked like an apple definitely kept me on my toes.
‘Idiosyncrasies I’. Emma made this piece to remember her grandfather who made her ‘dippy eggs’ and let her cut his apple at lunchtime. Photo: David Williams.
‘Idiosyncrasies II’ pays tribute Emma’s late Nanna, celebrating her collection of fridge magnets, her love of tea and her hospitable nature. Photo: Juraj Ladziansky.
As my work has evolved and I’ve become ever more focussed on how the material behaves, I really enjoy making the ‘Torsion’ works and the latest series I’m working on. These latest works challenge my glassblowing on a technical level but also celebrate the characteristics of the material.
Where do you show and sell your work?
I apply and take part in as many exhibitions as possible to showcase my work. I’ll look at any opportunity that gets the work out of the box and on show. They can be smaller, local exhibitions or larger scale events, like the British Glass Biennale. I aim for three exhibitions or shows a year and any more is a bonus. It’s always a treat to get an invite to show work, which saves on the application administration. Pieces from the ‘Torsion’ series are available through Vessel Gallery in London and all my works are shown on my website.
Pieces from the ‘Torsion’ series investigating the materiality of glass, developed using heat and rotation. Photo: Simon Bruntnell.
Where is your creative practice heading next?
Over the past six months I have been undertaking a residency at Sunderland University’s glass department as part of the AA2A programme, which provides artist residencies and professional practice development at various art and design institutions across England. This has given me the opportunity to delve into the experimentation and development of my ‘Flux’ series. It has also provided me with the support and security to explore and identify the values I enjoy in glassmaking, taking a step back from the demands and pressures of having to create and instead finding joy in the process again.
Blown glass sample pieces and preparatory drawings made during the AA2A residency. Photo courtesy of the artist.
I am also one of four lucky recipients of the Contemporary Glass Society’s Amanda Moriarty prize, and I can’t wait to be at the Teign Valley Glass studio in May 2025. As I balance my creative practice with part-time work, these residency opportunities are invaluable. They allow me time to escape and submerge myself back into creativity alongside providing the facilities and support to create.
This last year has been full of momentum for me so it’s all about maintaining that as much as I can. I recently received an Honorary Diploma from the Jutta Cuny-Franz Foundation which is a huge recognition for me and is extremely exciting.
I’m currently setting up a studio space. It has no furnace or glassblowing facilities, but I have a small kiln in a space I can immerse and surround myself with ideas and inspiration. What’s next? Setting off my kiln for its first firing.
About the artist
Emma Baker perfecting her glass skills at Devereux and Huskie Glassworks. Photo: Megan Gallacher.
Emma has worked with glass for over 10 years, initially encountering the material whilst studying Applied Arts at Bournemouth University, then moving on to receive her BA(hons) from Sunderland University in 2014.
Her passion for learning and understanding the material has driven her to work with an abundance of glassmakers in a variety of locations. In 2019 she became one of two Associate Artists at North Lands Creative, a two-year programme supporting and developing the practice of glass artists. She spent 2020 living and working in Bergen, Norway keeping the furnace alight at S12 Galleri og Verksted. In the summer of 2022, she was invited on an international glass exchange by the National Glas Museum in Leerdam, Holland, to create work that is now held in its public collection.
Emma has been awarded residencies at Berlin Glas, The Glass Factory, S12 Bergen and North Lands Creative.
Her work has been shown across the UK and Europe, including the Crafts Council’s Collect 2023, London. She has received scholarship funding to the US and has worked on international cross-cultural projects supported by British Council Scotland and Creative Europe. She has also been a teaching assistant at Corning Museum of Glass, Bild-Werk Frauenau and North Lands Creative.
Find out more about Emma Baker via her website: www.emmabakerglass.com and follow her on Instagram: @_emmbaker
Main feature image: ‘Flux Noir’ is one of Emma’s recent creations, made during her AA2A residency. Photo: Simon Bruntnell.
Applications for the 2025 Queen Elizabeth Scholarship Trust (QEST) and Heritage Crafts Sustainability Award are now open. This award, now in its third year, recognises craftspeople across the UK who have taken significant steps to reduce their environmental impact and improve the sustainability of their craft practices.
Glass artists have been successful recipients of the award in previous years. In 2023 Lulu Harrison, a QEST Johnnie Walker Scholar, was recognised for incorporating waste from local fishing industries into her glass pieces. Then well-known contemporary glassblower Allister Malcolm, whose studio is based at Stourbridge Glass Museum, won the award in 2024.
The Sustainability Award celebrates makers who have made measurable changes to their materials, processes, or introduced innovative approaches to reduce their environmental footprint within the past 12 months. Craftspeople working with traditional skills or materials, who have embraced sustainability and contributed to the long-term viability of their businesses, are encouraged to apply.
Through the partnership with Heritage Crafts, the award aims to showcase excellence in sustainable craft and promote innovative practices that ensure the UK’s rich craft sector continues to thrive for future generations.
There are two award categories in 2025, each designed to highlight different approaches to sustainability in craft:
Innovative Approaches to Environmental Sustainability
This category is for those who have demonstrated a unique and innovative approach to environmental sustainability. The recipient will have pioneered a ground-breaking solution, technique or process that challenges conventional wisdom and inspires others in the craft sector to explore new methods of working sustainably.
Incremental Changes to Environmental Sustainability
This category recognises craftspeople who have made incremental, yet substantial, improvements to the environmental impact of their business. By implementing practical initiatives to reduce waste, conserve resources and mitigate environmental harm over time, the recipient will have shown a steadfast commitment to making their practice more sustainable.
You can apply yourself or nominate another craftsperson or micro-business for the QEST and Heritage Crafts Sustainability Award. Each winner will receive a £1,000 prize and an invitation to attend a prestigious awards ceremony hosted by Heritage Crafts in November 2025.
Applications are open until 1 July 2025.
Find out more and apply or nominate via this link on the Heritage Crafts website.
Masterclass: Advancing sustainability in your craft practice with QEST and Heritage Crafts
On 8 April 2025, from 12pm–1pm, QEST is hosting a free Zoom masterclass online to explore how you can practically enhance sustainability in your craft practice.
Hosted by QEST and Heritage Crafts, guest speakers will be the two winners of the 2024 QEST and Heritage Crafts Sustainability Award – Allister Malcolm and jeweller and metalworker Rachael Colley. Allister and Rachael will explore the ways they’ve reduced the environmental impact of their craft practice, how they’ve measured their success and how you can communicate your sustainability story effectively.
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