This year’s winner of the Contemporary Glass Society’s (CGS) Amanda Moriarty prize is Kerry Collison, a stained glass artist and traditional glass painter who is currently interning at The Glass Hub. Kerry has recently started lampworking and wants to use the five-day residency with Laura Quinn to develop lampworked elements, including sculpted limbs and other appendages, that can be incorporated into stained glass panels.
Kerry stated, “I began my art practice with a BA in Sculpture from Carmarthen School of Art, where I specialised in hot metal casting and foundry work. I later earned an MA in Fine Art from Swansea College of Art (2023), focusing on stained glass. During my time in Swansea, I apprenticed with the Architectural Glass Centre and later worked a temporary contract with The Cathedral Studios in Canterbury on both commercial and heritage glazing projects.
“Currently, alongside interning, I am focusing on developing my creative practice and teaching stained glass. My practice blends traditional stained glass techniques with contemporary conceptual fine art. I create intricate, small-scale panels that incorporate humour, mischief, and subverted religious iconography to explore complex themes surrounding sex, gender, pleasure, and violence. Through sacred geometry and hidden symbolism, I aim to invite viewers into intimate visual dialogues that challenge conventional boundaries.
Stained glass panel, ‘Somewhere Between the Devil and the Deep Blue Sea’.
“Fire has always been central to my practice and finding my way back to using hot processes in making is important to me. After focusing on stained glass, I have felt disconnected from the heat and sculpture in my work. Since joining The Glass Hub, I’ve become increasingly fascinated by the intersections between warm, hot, and cold glass techniques. I see enormous potential in combining these often separate disciplines and this feels like an organic avenue to reconnect with fire.
“Though I am relatively new to lampworking, I feel this cross-disciplinary approach has the potential to push the boundaries of lampworking and stained glass in a contemporary way, whilst celebrating the ancient glass-making techniques.”
Some of Kerry’s lampwork experiments with hands and feet that will be developed as part of the residency.
Commenting on her selection of winner, Laura Quinn, said, “Kerry’s work stood out to me immediately, with its strong illustrative approach and humorous, and sometimes dark content that forces you to look closer. I thought, this is an artist who really owns their own style. Their proposal for the project was successful because of its clarity, Kerry knew what they wanted to achieve, and I knew I could help them do it! Their proposal to include three dimensional limbs, coming out from stained glass panels really excited me, I have never seen the two processes combining in such a way. I am very excited to facilitate Kerry’s residency, and support them in the creation of this new and ambitious project. Congratulations Kerry!”
A sketch illustrating the type of lampworked piece that Kerry wants to develop to feature in a stained glass panel.
The Amanda Moriarty Prize was set up in 2017 to commemorate Amanda Moriarty, a long-serving Board member and Honorary Treasurer of the CGS, who passed away. To celebrate her enthusiasm and encouragement of glassmaking, CGS offers this annual prize in her memory, which features several days of practical experience with a glass mentor and a contribution towards accommodation and travel during the residency. In this case, Laura Quinn will host five days of practical training at her home studio in Reading. CGS thanks Laura for providing this fabulous opportunity.
Main image: Kerry Collison practising lampworking.
The National Glass Centre (NGC) in Sunderland is celebrating the achievements of its graduates over the years with a final exhibition of work before it closes at the end of July 2026.
Anyone who has graduated from the University of Sunderland’s BA(Hons), MA or PhD programmes at the NGC can apply to show work in the exhibition, which will be entitled ‘The Graduates’.
The NGS will highlight the artists who have studied at the iconic building and developed careers working with glass and ceramics. The exhibition will run from 31 January to 31 July 2026.
Selection of works will be made by a panel including Reino Liefkes (Senior Curator, Ceramics and Glass at the Victoria & Albert Museum), Helen Ritchie (Senior Curator of Modern & Contemporary Applied Arts at the Fitzwilliam Museum, University of Cambridge) and Julia Stephenson (Head of Arts at NGC).
Artists should submit one artwork (this could comprise a number of parts). In certain circumstances photographs of artwork will be included in the display, such as public art, site-specific installations and stained glass included within the structure of a building.
Work can have been created at any time between graduation and the present day.
NGC is keen to receive work from outside the UK but is unable to cover international shipping and import and export charges.
Work will not be for sale during the exhibition but a website address can be included on the object label for visitors to contact artists directly and NGC will not take commission for any sales.
The deadline for applications is Sunday 14 September 2025.
Further details and the application form are available here.
Read more about the background to the closure of the iconic building here and the new Glassworks: Sunderland venture here that aims to continue the long tradition of glassmaking in the region.
NGC is located at Liberty Way, Roker, Sunderland SR6 0GL.
Sandra Young is an expert in lampworking borosilicate glass, which she uses to create her signature dragons and other creatures from her studio near Stone Henge in Wiltshire. Here she explains how her practice began and has developed over almost 40 years.
I had always enjoyed art as a child and teenager and studied Scientific Illustration at art college in Southampton. In 1985 I was told about Lymington Glass Mystiques and visited to see what they made, which included quality glass ships in bottles and other glass novelties. I was immediately fascinated and, when a trial period for a job came up, I jumped at the chance. In November of that year, I lit my torch for the first time and – despite singeing my hair three times in as many weeks – I loved it and have not looked back.
A fairy with a cornflower created using borosilicate glass. Photo: Simon Bruntnell Photography.
As the company made glass ships in bottles, I spent several weeks pulling rigging – long, thin strips of glass otherwise known as ‘stringers’ – and tagging the corners of sails to fix them onto the ship’s masts. Even though this was repetitive, I loved the feel of the glass, and I was hooked. I stayed on when invited after my 6-week trial period. 18 months later the owner Jack announced that he was retiring and closing the business. Mandy, another employee, and I decided to carry on, making our own ideas, and in 1987 New Forest Glass Sculpture was formed in my dad’s garage. We made wildlife, fantasy and dragon sculptures right from the start but on a much smaller and simpler scale and design.
Wren amongst cherry blossoms. Photo: Simon Bruntnell Photography.
My dad helped get us a stand at the New Forest Show and we were thrilled with our very modest sales and subsequently booked more, larger ‘craft’ shows in Bournemouth and at Wilton House in Salisbury. We were soon travelling around the country exhibiting and selling our work. We also designed and created awards for British Gas and Holiday Inns as well as others. Making the ‘House of Glass’ for a TVS Television ghost story drama was a highlight of that time. My bees, hedgehogs, birds and seahorses were a favourite at the exhibitions – as they still are today. Dragons have always been signature pieces.
The ‘House of Glass’ made for a TV show.
In 1993 our lives went in different directions and I began working alone. I moved to Wiltshire in 1995, where – although I missed the New Forest – the chalk hill landscape and ancient history gave new inspiration. I continued exhibiting at the large design and craft shows, taking my young boys with me whenever I could.
Througout my career I have specialised in working with solid borosilicate glass in the flame. I have found ways to increase the size and detail I can obtain with this glass. Its properties allow me to work with it longer than the softer glasses, and I can create a lot of detail, which is my idiosyncrasy. However, this can lead to overcomplicated and overly fragile pieces! I use both coloured glass and lustres that fire on in the kiln to create my finished pieces.
Regarding the creative process, for the fantasy pieces I predominantly create directly in the flame by working the glass from ideas I have in my mind. Occasionally I will sketch something to give me an outline of how pieces will fit together if I am creating a diorama, or to work out correct posture and alignment. I also use photographs and occasionally videos, both from online and books, to create realistic sculptures of the wildlife I make. I try to convey my love of the fantastic and mythological world and where it meets reality in the amazing wildlife around us.
My torch is the main tool I create with, and I have a few tweezers and hand tools I have used throughout my working life. I recently bought a new torch, which, after using the same one for over 35 years, was quite a change, but I have grown to love it equally.
My favourite piece changes regularly. I love my dragons, but sometimes the challenge of creating a bird, for example, and giving it the impression of flight and movement is very compelling. If I can convey movement in a sculpture, I am always happy, as is the case with my dancers.
‘Puffin Taking Off’. Photo: Simon Bruntnell Photography.
I still sell my work predominantly to the public at large craft, art and design exhibitions. For example, those organised by Craft in Focus and Living Crafts. Some shops and galleries also sell my work. I have collectors too, some of whom have been collecting since my early days of glass working and still come back regularly for more pieces.
I get commissions through online media and via exhibitions. I was particularly pleased to win the Young Collectors’ Award at the 2022 British Glass Biennale.
‘World Dragon’, which won the Young Collectors’ Award at the 2022 British Glass Biennale.
In the past couple of years, I have been commissioned to make a couple of pieces for TV; one was a small crystal bird in flight for Dr Who and another was a Victorian stork-like bird for a period drama.
I moved home and workshop in 2023 for a fresh start and I am developing more sculptures where I combine bronze and glass. This allows me to introduce more detail, and I love the contrast between the solid, opaque bronze and the fragile glass. This works well with the dragons, but I have many ideas for wildlife creations and other mythological creatures.
A bronze and glass dragon wall art sculpture. Photo: Simon Bruntnell.
I am also working on more diorama pieces. I love combining groups of wildflowers and insects, for example, or different birds around a birdfeeder or branch. I am also creating sculptures featuring water, like my ‘Kingfisher and Splash’ and ‘Puffin Taking Off’. There are many more ideas where those came from that I have yet to create. Underwater scenes and creatures also inspire me.
‘Kingfisher and Splash’ shows my development of movement and water in glass. Photo: Simon Bruntnell Photography.
I demonstrate at some exhibitions, and I also give a few classes per year to give people a taster of lampworking. I hope to inspire more people to take up this very rewarding art.
The complexity of the process is shown in these photographs of the making of a Long-tailed Tit.
My sculpting, though not having made me wealthy financially, has given me so much more in other forms. It has introduced me to other creatives who are now fast friends, and it has helped me through some rough times. The effort of making my creations, although very intense with deep concentration for sometimes a prolonged period of time, brings calm and satisfaction at the completion of a piece. I find it almost meditative – if exhausting!
I am glad to have been able to continue creating – I mark 40 years in November 2025! I am always developing my own techniques and trying to stretch boundaries in my work and in myself. I do not intend to stop any time soon!
Sandra Young creating a glass dragon at the torch.
Find out more about Sandra Young and her work via her website.
Main feature image: Sandra Young with one of her trademark dragon sculptures.
Extraordinary glass artworks by 70 selected members of the Contemporary Glass Society (CGS) will be shown at the influential London Glassblowing Gallery in London in the new exhibition ‘Mirage: An Exhibition Celebrating Glass’ 4th Dimension’ this June.
This exhibition explores the optical illusions possible in contemporary glass. The show celebrates how glass artists manipulate form, colour and light to create amazing effects, ranging from the subtle to the complex.
CGS is delighted to be collaborating with the prestigious London Glassblowing once more on ‘Mirage’ because London Glassblowing’s founder Peter Layton was also one of the founders of our organisation 28 years ago.
From 6-29 June 2025, Peter will be showcasing his masterful work alongside pieces by the following artists: Alexander Pearce; Alison Jardine; Alison Stott; Ana Laura Quintana; Anna Alsina Bardagí; Annica Sandström & David Kaplan; Beth Colledge; Bethan Yates; Bruce Marks; Brynn Hill; Catherine Forsyth; Cathryn Shilling; Caz Hildebrand; Charlotte Wilkinson; Claire Hall; Daisy Parkinson; Deborah Timperley; Dovile Grigaliunaite; Elin Isaksson; Elizabeth Šinková; Gail Turbutt; Georgia Redpath; Graeme Hawes; Harriet Thorne; Helen Brough; Helen Carr; Helen Restorick; Helen Slater Stokes; Iain Smith; Ian Chadwick; Jade Pinnell; James Maskrey; Jane Reeves; Jane Yarnall; Jeff Zimmer; Jianyong Guo; Jiayun Ding; Jo Guile; Jo Mitchell; Jon Lewis; Joshua Kerley and Guy Marshall Brown; Julie Coakley; Katharine Coleman MBE; Katharine Dowson; Kerry Collison; Layne Rowe; Lisa Pettibone; Louise Hawkins; Malvinka Bitelli; Maria Zulueta; Mils Bridgewater; Morag Reekie; Nancy Farrington; Nancy Sutcliffe; Opal Seabrook; Philippa Beveridge; Phillipa Candy; Pratibha Mistry; Richard Roberts; Ruth Shelley; Sam Sweet; Scott Benefield; Stacey Poultney; Steve Robinson; Stevie Davies; Tim Rawlinson; Tracy Nicholls; Tulin Bedri; Verity Pulford; Vicky Higginson, and Wang Ziyan.
Will Budgett, Gallery Assistant at London Glassblowing, who suggested the theme for this exhibition, commented, “The more I see what people do with glass the more amazing I find it. What constantly amazes me is how glass can deceive and delight – the way it creates refractions, reflections, and illusions that draw people in as they explore the gallery. Looking beyond the surface at all of these qualities, and other illusions the glass creates, is astonishing. It is always these extra tricks that constantly draw people’s eyes. Having artists specifically focus on these magical properties promises to create something truly spectacular.”
London Glassblowing is at 62-66 Bermondsey Street, London SE1 3UD. Find out more on the website. Gallery opening hours: Tuesday-Saturday 10am-5pm; Sunday 11am-5pm.
Image: An exploration of flow patterns in kiln-formed glass by Helen Restorick.
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.
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