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A feast of glass at Bulgaria’s International Biennale of Glass 2023

Sofia in Bulgaria hosts the country’s fourth International Biennale of Glass (IBG) between 6 October and 3 December 2023.

The event presents a mix of exhibitions in three different venues in Sophia, alongside a rich programme of expert glass artist showcases and lectures. Its aim is to provide a global platform for artists from around the world.

The judging panel for this year’s biennale selected the work of 222 established and emerging artists from 562 applications, who submitted glass art on the theme ‘Together’. The successful applicants hail from 48 countries across five continents.

The works will be displayed in the National Gallery Kvadrat 500, the Sredets Gallery of the Ministry of Culture and the UniArt Gallery of New Bulgarian University.

Since the biennale’s launch in 2017, some participants have donated their works to the IBG. These are then featured in exhibitions held between the biennial editions. This expanding collection has prompted the art director of the biennale, associate professor Konstantin Valchev and its executive director Lyubomira Valcheva-Nundloll PhD to organise a permanent exhibition in Tryavna, Bulgaria. This initiative, set to launch imminently, will grant year-round accessibility to the captivating world of glass art, aligning with the project’s primary mission of popularising this art form in Bulgaria.

Once again, the National Gallery Kvadrat 500 will host the main IBG exhibition. Its expansive space and abundant natural light provide an ideal setting for the glass artworks.

The work of eminent glass maestros, such as the revered Czech duo Stanislav Libenský (1921-2002) and Jaroslava Brychtová (1924-2020), mentors and friends of Valchev, plus Václav Cigler, will grace the halls of Kvadrat 500. Alongside these pieces will be a showcase of glass art by distinguished Dutch artists, facilitated by the Embassy of the Kingdom of the Netherlands in Sofia and curated by Han de Kluijver of the international jury.

Italian (Murano) glass artists will be present again thanks to the support of the Italian Cultural Institute in Sofia. The globally acclaimed Lucio Bubacco, known for his extravagant rococo-inspired sculptures, and the skilled jeweller Caterina Zucchi will grace the biennale with their artistry.

In addition, the Czech glass manufacturer Bomma will showcase the winning entries from its annual Glass Cutting World Cup (GCWC), held in Světlá nad Sázavou, Czech Republic.

Complementing the showcase at Kvadrat 500 will be a programme of lectures on 6 and 7 October 2023, featuring esteemed international guests and close affiliates of the biennale. Among them will be Karen Browning and Jon Lewis from the UK.

A further component of the biennale is a travelling exhibition of Hungarian glass masters at the Sredets Gallery of the Ministry of Culture, organised by the Ministry of Foreign Affairs and External Economic Relations of Hungary. Curated by Rita Halasi, the exhibition, entitled

‘Glassification.hu’, will showcase abstract sculptures by 10 glass designers known for their pioneering techniques in glass transformation.

The Sredets gallery will also host a presentation by Marta Edőcs on 19 October, complemented by her exquisite glass jewellery and small sculptures. The exhibition will run from 17 October until 3 November 2023.

The third biennale location, the UniArt Gallery, will hold a collaborative exhibition of work by new glass artists, entitled ‘The Beginning’. It will feature pieces by students at New Bulgarian University (NBU) and the Anadolu University in Eskişehir, Turkey, curated by Prof Mustafa Ağatekin, head of the glass department at Anadolu University, and Monika Naydenova PhD, head of the glass atelier at NBU. This exhibition runs from 31 October to 30 November 2023.

For those unable to attend in person, the IBG Connect virtual platform offers a digital window into the highlights of the biennale, ensuring global access to the event.

For a detailed schedule of events and further information, visit the website.

The US Tianaderrah Foundation supports the initiatives of the IBG.

Image: The three locations of the International Biennale of Glass in Bulgaria.

Win glass artworks in CGS annual fundraising raffle

A fantastic, colourful sculpture made by Chris Day is among the prizes on offer in the Contemporary Glass Society’s (CGS) annual raffle. This and 12 other glass artworks have been donated by glass artists to help raise money for the organisation’s events in 2024.

As well as Chris Day’s piece, the donated pieces have been supplied by Hannah Gibson, Tracy Nicholls, Emmy Palmer, Jessie Lee, Pippa Stacey, Gail Turbutt, Sue Sinclair, Jane Littlefield, Jude Stark, Angela Brady, Christina Dembinska and Zihao Xiong.

Apart from Chris Day’s magnificent piece, the works have been donated from the Razzle Dazzle exhibition held at the Pyramid Gallery in York, so every one sparkles.

Funds raised will help CGS participate in the 2024 International Festival of Glass (IFoG), which will be the last one in its present format before the Glass Art Society takes the reins for the 2026 event.

Each year CGS members create postcard-sized glass art panels in a variety of styles and techniques on a theme chosen by the CGS board for display at the IFoG. For 2024, to mark the final IFoG with the current organisers, the theme will be ‘Thanks for the Memory’. More details of the exhibition will be circulated to CGS members in due course.

All raffle tickets are £2 each, available in books of five. The draw will take place on Sunday 2 December 2023, just in time for Christmas.

Raffle tickets will be circulated to CGS members with their Glass Network print magazine in November. Non-members are welcome to buy tickets too. Request tickets or find out more by email to Pam Reekie via: admin@cgs.org.uk or tel: 01379 741120. Money can be paid through PayPal to admin@cgs.org.uk .

Draw registered with South Norfolk Council: SL0232.

Image: Some of the prizes in the CGS fundraising raffle, including Chris Day’s piece on the left.

New book about stained glass pioneer Michael Healy

A new book about the reclusive Irish stained glass artist Michael Healy (1873-1941) goes on sale in October 2023 and is available with a pre-publication discount until 4 October 2023.

Written by stained glass authority, David Caron, the book tells the story of the man who was raised in a Dublin tenement and who, ahead of Harry Clarke, Wilhelmina Geddes and Evie Hone, established the bar for artistic and technical excellence in the exacting craft of stained glass.

Michael Healy worked at the world-renowned An Túr Gloine (Tower of Glass) studio for almost four decades.

Michael Healy’s ‘The Ascension’ (1935-6), St Brendan’s Catholic cathedral, Loughrea, Co Galway, Ireland. Photo: Jozef Vrtiel.

Lavishly illustrated, the book charts Healy’s stained glass career and features images of all his major windows in Ireland and on three continents. These windows, according to David Caron, ‘convey everything from austere majesty to tender humanity, often revelling in beguiling narrative detail’.

A phalanx of angels in ‘The Ascension’ (1935-6), St Brendan’s Catholic cathedral, Loughrea, Co Galway, Ireland. Photo: Jozef Vrtiel.

In his spare time Healy surreptitiously recorded Dubliners going about their daily business, producing many, many hundreds of charming, rapidly executed pencil and watercolour images, which collectively form a homage to the citizens of the city he loved.

Author David Caron’s PhD research at Trinity College Dublin focused on Michael Healy and the stained glass artists of An Túr Gloine. He was one of the three original compilers of the Gazetteer of Irish Stained Glass in 1988 and was editor and principal author of the revised and expanded edition in 2021. David regularly contributes articles on stained glass to the Irish Arts Review.

Book details: Hardback. 400 pages. Large Format; Full Colour. €55.00

Buy it from the publisher, Four Courts Press, via this link. The pre-publication discount is available until 4 October 2023.

Main image: Detail of the damned in ‘The Last Judgement’ window (1939–40), St Brendan’s Catholic Cathedral, Loughrea, Co Galway, Ireland. Photo: Jozef Vrtiel.

New apprenticeship in stained glass launches

A new stained glass apprenticeship has been developed, with the specialist training to be provided at University of Wales Trinity Saint David (UWTSD).

The programme is the result of a collaboration between Swansea College of Art at UWTSD, the British Society of Master Glass Painters, the Worshipful Company of Glaziers and industry professionals. It came about after research showed a worrying decline in the traditional craft of stained glass and the Heritage Craft Association put making and restoring traditional, large-scale stained glass windows on its Red List of Endangered Craft in 2023.

A diminishing market of new commissions, an aging demographic of practitioners, combined with increasing costs and decreasing opportunities for formal training mean there are real concerns among practitioners about the craft’s future.

The result of the collaboration is a new, government-funded Stained Glass Craftsperson Apprenticeship, with training provided by UWTSD and final assessment by the Institute of Conservation (ICON).

Apprentices will study at UWTSD in blocks over three years, undertaking tuition in a comprehensive range of stained glass craft techniques. Apprentices must be employed in the sector to join the programme.

Essential Health & Safety and COSHH will be built into the programme, alongside a range of decorative processes, including glass painting, staining, enamelling, acid etching, sandblasting and French embossing. Apprentices will be introduced to design, heraldry, lettering and the history of stained glass to deepen their knowledge and understanding of the craft.

Preparations are underway to welcome the first cohort of apprentices in November 2023.

Swansea College of Art at UWTSD is recognised as one of the UK’s centres of excellence in stained glass. The department has a rich heritage in stained glass education and has an impressive archive of panels, cartoons and designs spanning 80 years, providing an invaluable teaching resource.

Apprentices will be based in UWTSD’s ALEX Building, the original home of the stained glass department, where they will have access to high quality glass workshops and facilities.

Christian Ryan, Stained Glass Apprenticeship Liaison Officer at UWTSD said: “This programme is a significant development in the continuation of stained glass training and is a wonderful opportunity to instruct the next generation of craftspeople.

“With the hard work and perseverance of all involved, and the support of the stained glass community, we hope that soon, stained glass can be removed from the Endangered Craft Red List and that the specialist knowledge and skills continue to be passed on in future.”

Find out more and register your interest in the Stained Glass Craftsperson Apprenticeship via this link.

For more information email Christian at: c.ryan@uwtsd.ac.uk

Image: The extensive facilities at UWTSD will support the apprentices to develop skills in a range of stained glass techniques. Photo courtesy UWTSD.

Obituary: Vital Peeters 1960-2023

It is with great sadness that we learned Vital Peeters died on 18 September 2023.

Many will have met Vital, together with his husband Jules, at their Oxford home where, for 35 years, Vital shared his enthusiasm for glass and showcased his work during Oxfordshire Artweeks.

Vital was rightly proud of his huge portfolio of work, with stained glass window commissions in the UK and beyond, as well as work in stone, drawing and clay. His main glass techniques were fusing, painting, sandblasting, etching and bonding.

Vital’s zest for life was infectious and he was always full of love and laughter. His ideas seemed to flow effortlessly as he choreographed glass in a way that made his work dance with joy.

He was a longstanding supporter of the Contemporary Glass Society and is remembered with great affection as a wonderful man who contributed enormously to the world of glass. Vital will be greatly missed and we send our condolences to Jules, his family and friends.

Vital’s glass work mixed vibrant colours with a variety of techniques, as shown in this window.

Main image: Vital Peeters with one of his glass artworks in the background.

Bathed in coloured light

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Glass artists Flora Jamieson loves creating both traditional and modern styles of design in her painted stained glass windows – bringing joy to viewers through colour, texture and little details. Linda Banks finds out more.

 What led you to start working with glass?

I suppose it was a combination of random circumstances; initially there was a school art trip to Salisbury Cathedral as a teenager that resulted in a few of us slipping away from the guided tour and stumbling upon the stained glass workshops, and thinking that was a cool job… then, a few years later, when I was working in a design studio, I came across a reference book about stained glass that fascinated me, and joined the dots. I signed up to an evening class and was instantly hooked. After that, I took a year-long, part-time course at college, followed by an informal apprenticeship in a London stained glass studio.

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

When I was learning stained glass at college, I tried a few different techniques – copperfoil, fusing, appliqué, sandblasting and so on, but quite quickly I knew that my real passion was traditional painted and stained glass. I’m interested in using this centuries-old craft to create work that feels contemporary. Sometimes this means using a pared-back colour palette, or stripping away some of the detail to create a minimal, graphic look to a design.

‘Birds and Apples’ is an example of Flora’s modern style with stained glass. Photo by the artist.

 

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

Research is always my starting point, whether that’s in the form of a mind map or a concept board or just a list of things I want to include in the design. That way, when it comes to putting pen to paper, I have a framework to refer to. Then I sketch ideas out loosely in pencil, always working by hand at this stage. Once I have a scale design that I’m happy with, I may scan it in and move or resize some of the elements around digitally, using either Photoshop or Procreate. Then the full-size cutline is drawn up by hand, using the scale design as reference.

 

‘Four Seasons’ panels made for a French farmhouse. Photo by the artist.

What are your thoughts about architectural stained glass joining the Heritage Crafts Association’s red list? How can this trend be reversed?

One of the major issues is the closure of some of the European flat glass producers, such as Tatra and English Antique (EA). Mouth-blown glass production is labour intensive and expensive to produce, but there is nothing else like it in terms of quality. It would be wonderful if either Tatra or EA could be resurrected somehow, but, failing that, perhaps more UK glass suppliers could stock Lamberts or Saint Just, or Fremont Antique Glass from the US.

What message(s) do you want to convey through your art? 

Essentially, I want my work to make people feel a sense of joy, whether that is through the subject matter, the colour palette, tiny hidden details, or the material itself; there is nothing quite like being bathed in the light of a stained glass window and watching it change as the sun and clouds alter, sometimes almost imperceptibly, by the second.

‘Swan and Pond’ stained glass windows. Photo by the artist.

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

I have a beautiful wooden bridge (a hand-rest for glass painting) that was made for me by a lovely Ukrainian glass painter that I worked with over 20 years ago. I use it nearly every day and it is still as sturdy now as it was when it was first made. He wasn’t able to speak much English, but he made one for all of us in the studio and hand-lettered our initials on to them. It was the kindest gesture, and I am reminded of him most days as a result!

The handmade bridge that means so much to Flora Jamieson. Photo: Alice Tatham.

Do you have a favourite piece you have made? Why is it your favourite?

I think it’s a window I made for a private house in Dublin in 2019. The theme was for a garden view, with a pond and a sweeping apple tree. I incorporated lots of detailed flora and fauna in the design, as well as some tiny Studio Ghibli characters hiding in the undergrowth, at the request of the client. It was a joy to design and make, but also it was great to have the opportunity to travel to Dublin to deliver and install it.

‘Pond and Apple Tree’ stained glass window.
Detail of the window showing Studio Ghibli characters in the background that were requested by the client.

Where do you show and sell your work?

Nearly all of my work is made to commission. Clients mostly find me via social media (mainly Instagram, but also TikTok and Pinterest), Google or word of mouth.  I have made small pieces to exhibit and sell in the past and would love a bit more time to pick up that strand of my business, but I’m usually flat-out with commissioned work.

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

While you’re practising your skills at making stained glass, it’s a good idea to practise photographing your work, too, even if no one else sees it. Photographing glass is hard, but good photos are essential if you want to sell your work. It can take a bit of practice to work out the best set-up for photographing your pieces, but, once you have it mastered, it will pay dividends in terms of marketing your work and finding clients in the future.

 

The process of leading a window. Photo by the artist.

Do you have a career highlight?

I recently designed and made some small pieces for The William Morris Society, which will be available for sale in their shop. As a long-time fan of his patterns and stained glass, it was an exciting moment when they approached me!

The William Morris-inspired glass panels. Photo by the artist.

Where is your glass practice heading next?

I’m hoping to create more space in my work schedule to make a few collaborative pieces with other artists. One of the great things about social media is that it allows you to connect with other artists and makers whose style of work aligns with your own. Working collaboratively is a great way to push oneself to try new skills and work in a different way.

And finally…

In 2021 I filmed an online stained glass course with global creative learning platform Domestika. It was really fun to do and it’s been so exciting seeing people all around the world learning how to make stained glass. I wanted to share all the tips and tricks that I have learnt from over 20 years as a professional glass artist. It makes learning the craft accessible to all, as the price is a fraction of what you would pay for an in-person class. When you first start out learning stained glass, you only need a few hand tools and a soldering iron (plus glass, lead and solder) so it’s quite an easy craft to get started in. I have created a 10% discount for readers of CGS Glass Network Digital. Use the code FMJSTAINEDGLASS-CGS to claim your discount via this link

About the artist

Flora Jamieson (and helper) in her studio. Photo: Alice Tatham.

Flora Jamieson has been designing and making stained glass for over 25 years. She works from her studio in Bridport, Dorset.

As well as her own contemporary designs, she also reproduces and restores windows from our rich heritage of domestic stained glass.

Her contemporary designs are recognisable by her use of a bold colour palette, hand-painted repetitive patterns, formed of geometric and cursive shapes, which are given life by the fluidity of the brush stroke, and her meticulous lead lines.

Inspiration comes from many sources: children’s book illustrations, vintage botanical studies, wallpaper and fabric designs and the flora and fauna of the Dorset countryside around her. Like the artists of the Arts and Crafts movement, she aspires to make her work both beautiful and useful, bringing light and colour to homes, and taking nature as her inspiration.

Website: www.florajamieson.co.uk

Instagram: www.instagram.com/theroundwindow

TikTok: www.tiktok.com/@stainedglassflora

Main image: Detail of ‘Multiplication Window’. Photo by the artist.

CGS Discovery Day at the V&A London

Book your tickets now for the Contemporary Glass Society’s (CGS) final Discovery Day of 2023, which is taking place at the iconic Victoria and Albert (V&A) Museum in London on Saturday 9 December.

Each Discovery Day is open to all and designed to inspire people to enjoy the world of contemporary glass. There will be talks by practising glass artists, plus other activities during the day.

These include opportunities to meet and network with fellow makers and enthusiasts, join in a ‘Show and Tell’ session, with hands-on experiences of pieces of glass artwork and discussions about a range of glass techniques, plus a tour of the galleries.

PROGRAMME:

10.00am Museum opens – Registration and coffee

10.30am Welcome

10.45am ‘The Devil is in the Detail’ talk by Cathryn Shilling and Anthony Scala

11.45am ‘Reflections and Refractions’ talk by Colin Reid

12.45pm Lunch and tour of galleries (1hr 30 minutes)

2.15pm ‘There’s Always a New Beginning’ talk by Laura McKinley

3.15pm ‘Show & Tell’ with five artists/tea and coffee and networking

4.00pm ‘35 Years in Architectural Glass’ talk by Martin Donlin

5.00pm Farewell

5.15pm End of day

5.45pm Museum closes.

LOCATION:

The Hochhauser Auditorium, The Victoria and Albert Museum, Cromwell Road, London SW7 2RL. The best access for the Auditorium is the Exhibition Road entrance, but it can also be accessed from the Cromwell Road or Tunnel entrances.

SPONSORS:

Thanks to Creative Glass and the V&A Museum for their support.

Find out more and buy your ticket via this link.

Image: A selection of glass made by speakers at the V&A Discovery Day.

CGS exhibits at the World of Glass

Not only has the World of Glass in St Helens, Merseyside, opened its newly reimagined museum galleries, but it is also welcoming back the Contemporary Glass Society (CGS) with a new members’ exhibition in its upgraded exhibition space.

This ‘Festival of Glass’ exhibition runs from 30 September to 17 November 2023 and features the work of over 50 glass artists. Entry was open to all CGS members at any stage of their career but especially CGS Northern members.

There is no specific theme to the exhibition – it is a celebration of the diversity of contemporary glass in all its many facets. However, a highlight of the show will be the range of techniques on display. All work submitted is for sale and features both wall pieces and plinth-based work. It is a great opportunity to buy work from today’s leading glass artists.

Artists taking part are Lyndsay Atkinson, Sandra Balmer, Natalie Baskin, Tulin Bedri, Roland Biermann, Ally Browning, Louise Burns, Caroline Channing, Katharine Coleman MBE, Rachel Craig, Christina Dembinska, Shirley Eccles, Rachel Elliott, Lilly Eris, Hannah Gibson, Cheryl Gould, Helen Grierson, Jianyong Guo, Diane Harding, Laura Hart, Gill Hobson, Ingrid Hunter, Julia Kastler, Allister Malcolm, James Maskrey, Emma Mayle, Anthony McCabe, Graham Miller, Pratibha Mistry, Joanne Mitchell, Wendy Newhofer, Mary Pilkington, Susan Purser Hope, Morag Reekie, David Reekie, Penny Riley- Smith, Daniel Rollitt, Annie Ross, Hadia Roushdy, Layne Rowe, Anne Scott, Annette Sharkey CBE, Oli Shepheard, Cathryn Shilling, Helen Slater-Stokes, Iain Smith, Nancy Sutcliffe, Joanne Turner, Alison Vincent, Jane Vincent, Cara Wassenberg, Kathryn Webley, Frans Wesselman, Hilary Woof and Samantha Yates.

In addition, there will be an opportunity to meet the makers on the opening day, Saturday 30 September, from 2-3pm. There will also be afternoon talks on Saturday 14 October featuring two of the artists taking part in the exhibition, who will talk about their work, the techniques they use and their thoughts on the future. These can be booked through the museum’s website.

Workshops will take place on Saturday 21 October and Saturday 11 November. On each day there will be two morning workshops for children from 10am-12noon and two afternoon workshops for adults from 2-4pm. Again, these can be booked through the museum’s website.

The World of Glass is dedicated to the local history of the town and borough, primarily through the lens of the glass industry. The museum was founded in 2000 and is an amalgamation of the former Pilkington Glass and St Helens Borough Council Collections. The purpose-built premises was constructed adjacent to the Pilkington’s glassworks and the stretch of the St Helens Canal known as the ‘Hotties’. There are glassblowing demonstrations and visitors can see the Victorian furnace and tunnels built in 1887 by William Windle Pilkington.

The show is on from Tuesday to Sunday (10am-4pm).

The World of Glass is at Chalon Way East, St Helens, WA10 1BX, UK. More information via the website: https://worldofglass.com

Image: Shirley Eccles’ ‘Ramshorn Spoon’ will be on display at the CGS World of Glass exhibition.

A cultural melting pot

George William Bell diverted from a path towards ceramics to a career in contemporary glass and his travels around the world – in particular to Scandinavia – have informed the development of his practice. Linda Banks finds out more.

 

What led you to start working with glass?

I was raised in a creative household, with both of my parents working as full time ceramicists. I was also on my way to becoming a ceramic artist myself, but during my time at Bath Spa University, I happened to venture down to Bath Aqua Glass for a demonstration of glassmaking. Whoever let me blow that bubble during the demo is to blame – I was hooked!

After finishing my degree in Ceramics, I applied for a job at the studio and never looked back. Since then, it has been a long, strange road of working and exhibiting, lecturing and demoing across Europe and the US.

Currently, I am delving deep into a new body of work exploring the natural fluidity of glass as a material during my time as long-term artist in residence at Monterey Glassworks, in California, US.

‘Assorted Works (Still Life)’. Photo: Ida Buss.

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

I use a wide array of techniques in order to achieve the fluid expressions within the objects I create. I would say that generally the idea leads and the technique is developed to match the idea. Having said that, I feel the basis of my process could be viewed as a combination of traditional Venetian cane technique, with an experimental Scandinavian approach to materiality.

Amporthous Form Study in Ruby (detail), Photo: Joe Kramm.

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

I see my creative process as a constant design investigation, where each object builds upon the material knowledge of the last. Since the focus of my work these days has been more of a freeform investigation into materiality, it is unusual for me to design the final object before its creation, but more likely to involve detailed notes and sketches of the processes or stages of development, which I will work through on the way to the final object.

Pairing of Objects in Brown and Amber. Photo: Joe Kramm.

You have lived in different countries. How has this influenced your work?

I see my work as a cultural melting pot of expression and technique. From my first experiences of glass as a factory worker in the UK, to my many years as an artist and designer in Scandinavia, to my new life and career in the US, I have acquired a treasure trove of material perspective and traditional craft knowledge. Without a doubt, though, the possibility to learn the processes and design traditions of the Scandinavian glass industry has left a lasting impact on my approach as a maker, designer and artist.

Self-generating Form Study in Gold (detail). Photo: Joe Kramm.

What message(s) do you want to convey through your art?

It is my hope that the objects I create encapsulate the material approach I have developed through a long-term dialogue with the natural fluid properties of glass. Rather than seeking to emulate a pre-existing structure or form shape, the works should be seen as captured moments of fluid abstraction. The resultant objects are an expression of the moment in which glass moves from a malleable, moving mass, in which all forms are possible, to a solid object with defined parameters.

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

Recently I discovered that I can use various sizes of metal pipe fittings to create bubble rings within the glass lumps I add to my objects, creating, in some circumstances, a series of two or more. So, I am excited to continue experimenting with that.

Self-generating Form Study in Amber. Photo: Kasper Agergaard.

Do you have a favourite piece you have made? Why is it your favourite?

I think that the ‘Amorphous Form’ series, in which four glassmakers blow in unison to create one unified, anthropomorphic form, probably came the closest so far to the pure form of material expression I aim to work towards.

Here is the description of the objects and the process in New Glass Now 41, by Francesca Giubilei: “Bell’s object is not intended to represent anything; instead it gives shape to the orchestral work of four blowers. Each of the elements that make up the work is the result of one glassblower’s breath and movements, which combined freely and casually with the actions of others to create an unrepeatable and unique anthropomorphic object.”

Amorphous Form Study in Gold. Photo: Kasper Agergaard.

Where do you show and sell your work?

Currently my work is available through Chesterfield Gallery in New York, Vetri Gallery in Seattle and Galleri Montan in Copenhagen. I’m also currently exhibiting as part of a group show, ‘Studio Glass from Denmark’, at the Museum of Modern Glass in Rodental, Germany.

Amorphous Forms in Black. Photo: Kasper Agergaard.

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

Forging a career in glass is not an easy road, but, as long as you can remain flexible and versatile, there will always be a place for you in this industry. Find a way to keep working in glass no matter what, and you will inevitably continue to grow personally and creatively. Eventually your skill and tenacity will be recognised and rewarded.

Do you have a career highlight?

My 2023 solo show in New York with Chesterfield Gallery felt like an important landmark in my career so far. Not only was it my first solo show in the US, but it also marked a new beginning for me after a few years of creative chaos and cancellation due to the pandemic.

Where is your glass practice heading next?

I hope to continue to further innovate a creative expression, which portrays my core values and personal material journey so far – working on projects and with people I believe in, who share my passion for material innovation within the realms of glassmaking.

Making of Amorphous Form Study. Photo: Ricardo Vaz.

About the artist

George William Bell’s work stands on the fine line between fine art, craft and design, with material investigation and innovation at its core. His personal artistic exploration has entered a paradoxical paradigm in which craftsmanship and artistic intent work in collaboration with the possibilities inherent in self-governing form. Exploring autonomous, self-generative aesthetics, material possibilities come into being which hold the power of tactical form in flux.

  1. William Bell’s work looks to the future of the handmade object – a future in which boundaries are blurred and ingrained belief systems are challenged.

Bell’s work has been exhibited widely, featuring in numerous international exhibitions, including ‘New Glass Now’ at Corning Museum of Glass (New York), The European Award for Applied Arts (Mons, Belgium) as well as the ‘Glass is Tomorrows’ touring exhibition (Stockholm, Milan, London). He has received awards from Danske Kunsthåndværkere & Designere, Ung Svensk Form, and the Stanislav Libensky Award.

He is currently living and working in California, at Monterey Glassworks, where he continues to develop and refine his artistic practice.

Follow his personal artistic journey on Instagram @georgewilliambellstudio, and his design work through @inflatedesignstudio .

Main image: Amorphous Form Studies in Ruby (group). Photo: Joe Kramm.

Isle of Wight Studio Glass celebrates 50 years

Marking a landmark 50 years in business in 2023, family-run Isle of Wight Studio Glass is celebrating with an anniversary exhibition event.

During the weekend of Saturday 7 and Sunday 8 October 2023, renowned glassmaker Timothy Harris will make five unique contemporary pieces inspired by the ‘Undercliff’ design originated by his parents, renowned glass maker Michael, and his wife Elizabeth. There will also be 50 smaller pieces made to order and orders can be placed over the weekend.

Timothy will be joined by various other glassmakers for the special weekend, which will be hosted by TV celebrity glass experts and authors Andy McConnell and Mark Hill, of Antiques Roadshow fame. Andy will be in attendance on the Saturday and Mark will be there on the Sunday. (More details of how to book at the end of this article).

Currently run by Timothy, Isle of Wight Studio Glass was established by his late father, Michael (1933-1994), in 1973. Michael was a pioneer in British glassmaking and set up the Mdina Glass studio in 1969 in Malta with Eric Dobson before returning to the UK to found Isle of Wight Studio Glass.

Speaking about his early experience with glass, Timothy said, “I made my first piece of glass in my early teens, standing on a box in my father’s studio.” More than 45 years later, he is still making beautiful glass masterpieces and has just as much passion for the material at 62 years of age as he did back then.

Timothy completed his formal studies at Brierley Hill College of Glass Techniques & Technologies, returning to the Isle of Wight in 1980 to join his father’s successful studio.

In 1990, he was awarded a Queen Elizabeth Scholarship Trust (QEST) Scholarship, in the foundation year of the charity. “America had strong glass movement which I wanted to witness and immerse myself in,” Timothy noted. “The QEST Scholarship enabled me to go to the Penland School of Craft, USA, which furthered my passion for the craft, learning from top glass artists.”

Timothy returned to Penland in 1991 to join the teaching faculty, then became artist in residence at Pilchuck Glass School, Washington.

He has since been recognised as one of the finest, most accomplished and innovative glass-makers in the UK.

“I joined my dad’s business at 17 years old and I’ve now made glass for longer than my dad ever did,” Timothy pointed out. “My dad was completely instrumental in my passion for glass making. As a small boy, I’d watch him and his team make bits of glass – I just wanted to be amongst the lads making glass.

Timothy has made many prestigious commissions, including pieces for the British Royal Family. His work can be found in the private collections, galleries, museums and retail outlets of many countries.

“I love that I can totally zone out and be with the material. I am still trying to be innovative and creative every day,” he concluded.

For anyone wishing to attend the 50th Anniversary weekend event, placed are limited. For more information and to book to attend, please email: nicolaiowsg@gmail.com

Isle of Wight Studio Glass is at: Arreton Barns Craft Village, Arreton, Isle of Wight, PO30 3AA.

 

Image: Timothy Harris working with molten glass at Isle of Wight Studio Glass.