Applications are now open for the last British Glass Biennale to be organised by the Ruskin Mill Land Trust at The Glasshouse in Stourbridge, before the Glass Art Society takes over for the 2026 event.
The British Glass Biennale is the foremost juried exhibition of excellence in contemporary glass by artists, designers and craftspeople working in the UK and British artists working abroad. It is the flagship exhibition within the International Festival of Glass.
The British Glass Biennale 2024 is open to artists, designers, craftspeople and students working in all areas of contemporary glass practice or using glass as a key design element. The emphasis is on new work demonstrating the highest level of excellence in design, creative imagination and technical skill.
Applicants must:
have been living and working in the United Kingdom of Great Britain and Northern Ireland for the last two consecutive years; or
be living, working or studying abroad but possess a British passport and have previously lived in the UK for a minimum of 15 years; or
be studying on glass arts course in the UK.
Each artist can submit up to three pieces for consideration. Each piece must be predominantly made of glass but can incorporate other materials. The work must have been made since 1 March 2022 and all work selected for display must be for sale. A range of prizes will be awarded.
Prizes:
British Glass Biennale Award for Best in Show
Glass Sellers’ Arts and Crafts Awards – Main and Runner Up
Glass Sellers’ Student Awards – Main and Runner Up
NEW: Bullseye Living Edge Award
The Glass Arts Society International Artists’ Prize
NEW: Glass Painters and Glaziers Award
The Guild of Glass Engravers Award
People’s Prize sponsored by Warm Glass
Young Collectors’ Award sponsored by The Glass Sellers.
The application fee is £15 (or £10 for a student).
The deadline for entries is midnight on Sunday 25 February 2024.
The jury comprises: Martin Donlin (architectural glass artist); Candice-Elena Greer (chair) (curator); Nadania Idriss (vice chair of the Glass Art Society and chair of Berlin Glas e.V.); Annie Warburton (writer and specialist in craft and design, CEO at Cockpit Arts); Tanya Raabe-Webber (artist, consultant, mentor), and Matt Durran (curator).
The British Glass Biennale opens on 23 August 2024 and closes on 28 September 2024.
Address: British Glass Biennale, The Glasshouse, Wollaston Road, Amblecote, Stourbridge, West Midlands DY8 4HF.
The Glass Art Society (GAS) is inviting entries for its inaugural Film Festival, designed to be a celebration at the intersection of glass art and film, with screenings to be held during the next GAS Conference in Berlin, Germany, in May 2024.
Glass artists and filmmakers from around the world are invited to submit films of any length for screenings which will take place both in-person and virtually. In-person screenings will occur in tandem with the annual GAS Conference, to be held from 15-18 May 2024, in Berlin, Germany. A virtual film festival will also launch in the Winter-Spring of 2024-2025.
Submissions will be juried internally by the GAS team, with awards for Best Feature-Length Film (45 minutes and above) and Best Short Film.
The open call closes on 31 January 2024. Entry is free for GAS members and US$25 for non-members. GAS members wishing to enter the festival can contact membership@glassart.org for an access password.
Submitted films must be the work of the submitter, or a collaborative group effort, and may not be submitted on behalf of a third party. Films should have been completed in the past five years. No films which have screened at the last two GAS conferences will be accepted for GAS Film Festival Berlin 2024.
Successful entrants will be notified by 12 February 2024.
Following its showcase at the Scottish Parliament earlier in 2023, the glass art installation ‘Our Common Humanity’ has moved to permanent display at The Royal Edinburgh Hospital to mark World Mental Health Day (10 October).
Created by artist Juli Bolaños-Durman, ‘Our Common Humanity’ was commissioned by Tonic Arts, NHS Lothian Charity’s Arts in Health programme. It is one of over 60 pieces of art and design it has commissioned for healthcare settings across Edinburgh and Lothians since 2015.
These settings are often clinical environments, and Tonic Arts works with artists to create work that will soften the spaces and make them more welcoming and calming for visitors, staff and patients. Our Common Humanity is showing in the reception area of the Royal Edinburgh Hospital and represents the community of the mental health hospital. It tells a story and reflects a gathering of unique individuals, all with their own challenges and joyful quirks. It is hoped that the piece will be a talking point that will make people’s time in hospital better.
The work was developed from art workshops run by Juli Bolaños-Durman and Tonic Arts’ partner organisation Artlink with psychiatric patients at The Royal Edinburgh Hospital. The patients’ need for connection in the everyday, and the importance of being held, supported, embraced and given a second chance, were highlighted.
Juli Bolaños-Durman is an award-winning Costa Rican glass artist and designer based in Scotland. She is known for revitalising waste material by applying various heritage cold-working processes, and her practice is driven by her concern for sustainability and her desire to give both people and objects second chances through her work.
Each element of the artwork is made from discarded glass, which was collected and donated by The Royal Edinburgh Hospital community. Using local heritage hand-cutting techniques, Juli has carefully deconstructed, embellished and reused each piece in the making of this intricate work, breathing new life into discarded objects. The final display is playfully lit to create magnificent shadows that bring the glass to life.
Juli Bolaños-Durman commented, “I want the work to be testimony to our ever-changing journey: powered by trials and errors, vulnerability and imperfection. Our daily interactions matter and each one of us has the power to make life better with the support of the people around us and the community we foster. We are part of a great community that supports one another – no matter where we come from, no matter what we have been through, which is why engaging with psychiatric patients at The Royal Edinburgh Hospital to make this piece was such an important part of my process.”
Susan Grant, Manager of Tonic Arts, noted, “There is a wealth of evidence and research surrounding the benefits of arts in healthcare settings and how the arts make people’s time in hospital better, including a reduction in the need for medication and length of stay, lessening anxiety and stress and increasing patient and staff well-being.”
Image: Juli Bolaños-Durman working on ‘Our Common Humanity’. Photo: Laura Meek.
A diverse offering of services and activities is keeping Blowfish Glass’ Bethany Wood and Elliot Walker busy and in buoyant mood. Linda Banks spoke to marketing and content coordinator Leanne O’Connor about how the business is developing
You offer a mix of glassblowing services for artists and designers, classes for the public, produce your own work and offer a showcase for contemporary glass artists in your online gallery. How did this multi-strand business model come about?
Our multifaceted approach at Blowfish Glass has evolved organically to meet the challenges and opportunities of the ever-changing artistic landscape. Initially conceived as a hub for glassblowing courses and events, the onset of the COVID-19 pandemic prompted a pivot towards a more diversified business model.
During the lockdown, director Bethany Wood ventured into website development and marketing, culminating in the creation of the online gallery. This shift was motivated by a desire to support not just our resident glassblower, Elliot Walker, but also our fellow artists, thus establishing Blowfish as an artist-led gallery.
Upon relocating to Stourbridge – the historic glass heart of England – Bethany and Elliot painstakingly transformed two units into a gallery and studio space. They recognised the importance of offering both in-person and online experiences and knew that glass art demands appreciation at every stage from its molten form to the final masterpiece.
This hybrid studio led to the birth of Blowfish Bespoke, our sister company, project-managed by Bethany Wood. It focuses on collaborations with corporations and artists to bring their visions to life in glass. With the variety of services Blowfish offers, we ensure resilience in a rapidly changing industry.
Blowfish works with companies and artists on a variety of collaborative projects, such as this bespoke chandelier, created with Rock & Soar, pictured in the reflection of the mirror.
Please can you describe some of your latest projects?
The ‘Process’ event that we hosted earlier in 2023, with lots of glass artists, was fantastic, as it introduced Blowfish to so many new glassblowing techniques, the magic of stained glass and new artists, as well as encouraging ideas for more bespoke courses for glass techniques across the spectrum. It was a really good experience for Blowfish as our first organised exhibition, and good to challenge our artists to make to a theme. This exhibition also expanded into new historical premises, extending to two exhibitions.
We saw a whopping 300 people through the door on the first day. The exhibition was entirely self-funded, which taught us the need to explore funding options to develop a full public programme of exhibitions and events to explore and support contemporary glass.
Another initiative that Bethany and Elliot have been involved in is an archaeological project that brought academics and makers together to shed light on medieval glass production in Islamic Iberia. A medieval glass workshop is being excavated in Murcia, Spain, at Calle Puxmarina. It is the only one of its kind in the country and one of just two known in all medieval Islam – the other being in al-Raqqa, Syria.
This remarkable discovery ignited the passion of archaeologists, historians and art enthusiasts, all eager to unravel the secrets of glass production in the 12th century. The project is named the COAT (which stands for Clayest of All Time – an affectionate name given to the project’s recreated wood-fired furnace, made to test the ancient style of glassblowing). The plan was conceived by John Pearson, a PhD student at Newcastle University, whose research is titled ‘Experiencing Medieval Craft Practice: New Approaches to Glass Production in Islamic Iberia’.
The expedition aimed to reconstruct the historical narrative of medieval glass production in Islamic Iberia and test how 12th-century glassmakers manipulated hot glass. It also involved other makers who wanted to try new glass production methods. In addition, the project set out to revive the ancient art of glassblowing, breathing life into traditional techniques passed down through generations and new experimental ways of making glass.
Lulu Harrison, researcher, artist and maker in sustainable material development, was involved in the project, too. She has developed a ground-breaking process of working with regional and waste materials to create new glass batches, using items like waste quagga mussel shells, local river sands and waste wood ashes, all sourced from the river Thames.
The COAT wood-fired furnace was created to test the ancient glassblowing practice. Photo: Lulu Harrison.
Soon after that, Disney UK approached Bethany and asked her to star in a short YouTube video to interpret the flaming character of Ember from their new animated film ‘Elemental’. Bethany created a bespoke piece, which responded to the stories of the personified elements in the film: air, earth, fire and water. You can watch her video here.
How has the Netflix series ‘Blown Away’ impacted the business?
‘Blown Away’ has been an incredible booster for Blowfish, since Elliot won series 2. It has publicised our business and made our vision to promote artists’ work a reality. From the hot shop through to our gallery space, we have involved several members of the ‘Blown Away’ family. This TV series, where glassblowers from different countries compete in creative glass challenges over several weeks, has also had a positive effect on all glass businesses around the globe. The more we talk about glass and its amazing potential, the more that potential grows.
‘Blown Away’ competitors Madeleine Hughes and John Moran demonstrated as part of our events at the International Festival of Glass 2022. American John produced a collaborative piece with Elliot Walker, in which they combined their most popular works – Elliot’s ‘Unbroken Back’ that he produced at Corning Museum of Glass in the US, was mixed with John Moran’s signature Mickey Mouse motif.
Working with John is important, as it is vital to collaborate across borders, to keep our international glass community thriving. Madeleine Hughes, made famous by her appearance on ‘Blown Away’ series 3, produced an exciting second instalment of her ‘Nostalgia’ range, which she produced for the programme’s ‘philosophy for life’ challenge. Madeleine demonstrated the making of her Liquorice Allsorts bags, which evoke feelings of longing for the past, and call us to appreciate the small things in life. Working with Madeleine also strengthens the connectivity with glass we have in the area – one we feel very privileged to be working in.
When a young glassmaking apprentice drove a whopping 175 miles to come to our latest exhibition, we realised the impact that that opportunity and ‘Blown Away’ can have on people. She was so excited to be there and to be around other makers. Her experience was made even more exciting when she was introduced to ‘Blown Away’ idol, Madeleine Hughes. To be able to facilitate the sheer joy that young glassmakers experience when meeting people that were so important for them during the COVID-19 lockdown is pure magic.
With glass courses and facilities in the UK closing or contracting, how do you see the future for contemporary glass?
The future of contemporary glass remains bright, despite challenges in the UK. Blowfish Glass’ strategic location in the historic Stourbridge Glass Quarter reflects our commitment to preserving glass as an art form. We’re enthusiastic about educating the UK audience on the remarkable possibilities of glass, while also maintaining a strong presence in the thriving US market. Everyone at Blowfish believes in the power of working across borders.
Blowfish Glass is also excited to support interdisciplinary practitioners to use the material more, which we are exploring with Blowfish Bespoke, where we work with prestigious models and designers. For example, we recently finished a project with Home in Heven and heritage lighting brand Louis Poulsen. This example of collaborative working shows that glass can move from the front cover of craft magazines to fashion, design and beyond.
A lampshade created with Home in Heven and heritage lighting brand Louis Poulsen.
What is your vision for Blowfish in the future?
Blowfish Glass’ vision encompasses nationwide touring exhibitions, supporting emerging glass artists and continuing our mission to diversify and promote glass art across various disciplines. We’re excited about the journey ahead, navigating the ever-expanding horizons of contemporary glass.
Part of this journey will see us exhibiting as part of Craftworks 2024 – our first touring show in London – during London Craft Week 2024. This three-day, free-to-attend, live event will host the very best of arts, crafts and design from all corners of the craft sector and will celebrate niche craftsmanship that is in danger of being lost to time. The below video showcases some of the exhibitors at Craftworks 2024. Credit: Craftworks.
With a strong focus on British craftsmanship, the exhibition hopes to generate business for craftspeople whose skills are little known and attract the next generation to help future-proof some of the world’s oldest practices.
Blowfish is also developing a glassblowing learning programme with partners at E+M Glass, working with students and graduates to help them with essential skills to become part of the hot studio glass industry.
More information
Blowfish Glass is located at Unit 15, Red House Glass Cone, High Street, Wordsley, Stourbridge DY8 4AZ. Find out more via the website.
Main image: Elliot Walker and Bethany Wood demonstrating their skills at the ‘Process’ event. Photo: Andrew Fox.
We are sad to report that glass artist Catherine Mahé died recently, aged 55.
Catherine was a fused glass artist based in Altrincham who lived in Britain for some 30 years after moving from France.
She was born in Brittany and came to the UK after college, teaching French in Ireland and Wales before moving to Manchester to work at Withington Girls’ School.
Originally a mosaic artist, her work changed dramatically when she bought a hobby fuser kiln to make her own glass mosaic tiles. She quickly became fascinated by glass as a medium and switched to making glass.
Since then, her use of vibrant colours and strong patterns established her as a glass artist with a distinct flair for colour and a variety of patterns in her work.
After making her mark locally in the thriving arts scene around Manchester and Cheshire, she went on to exhibit at Manchester’s Royal Exchange Theatre, The Biscuit Factory in Newcastle, Saltaire and at Cluster Crafts in London. Her most recent exhibitions were at the Hub in Sleaford and York’s Pyramid Gallery.
She was an active member of the Contemporary Glass Society (CGS) and was selected for the ‘Bedazzled – 25 Glass Makers Impress’ exhibition in 2022, marking 25 years of the CGS.
Catherine died in St Ann’s Hospice in Manchester in August after a 14-month battle with ovarian cancer. She leaves a daughter, Corina, and Rob, her partner of 11 years.
Image: Catherine Mahé with one of her distinctive and vibrant glass pieces.
Japan’s triennial Toyama International Glass Exhibition is inviting submissions for the 2024 event, which will take place from 13 July to 14 October at the Toyama Glass Art Museum.
The event is an international, open-submission exhibition that showcases outstanding works in contemporary glass art from around the world that contribute to the advancement of glass art.
It is open to all, regardless of nationality or age and there is no application fee.
All work submitted must be primarily composed of glass.
The application period is open until 10 November 2023.
Prizes (paid net of tax):
Grand Prize JPY 3,000,000 (1 work)
Gold Prize JPY 1,000,000 (1 work)
Silver Prize JPY 300,000 (2 works)
Jury’s Prize JPY 100,000 (5 works)
It is a condition of the exhibition that the works awarded the Grand Prize or Gold Prize must be donated to the Toyama Glass Art Museum.
The judging panel comprises: Amy Schwartz (director of The Studio at The Corning Museum of Glass), Uta Klotz (editor-in-chief, Neues Glas – New Glass: art & architecture magazine), Zhang Lin (founder, director and executive CEO of Shanghai Museum of Glass), Shima Atsuhiko (director of the National Museum of Art, Osaka) and Tsuchida Ruriko (director of Toyama Glass Art Museum).
The first round of judging will take place in January 2024 and will be based on images submitted. The panel will select 50 works for the exhibition.
The second round will take place on 18 and 19 April 2024, where the judges will choose the nine prize winners from the actual works. The decisions of the panel will be announced on the website in early June 2024.
For more details and a link to the entry form click here.
Toyama Glass Art Museum is at 5-1 Nishicho, Toyama City, Toyama 930-0062, Japan.
Seven glass artists are participating in the ‘Behold’ exhibition at S12 Gallery, Norway, curated by Kari Håkonsen and Vidar Koksvik, which is on until 19 November 2023.
The two artists are showing their work alongside Cathrine Maske, Eirin Bjørsland Hansen, Julie Shirani Kausland, Karen Klim and Peter Sutton.
The foundation of Kari Håkonsen and Vidar Koksvik’s practice is blown, craft glass, where the material’s inherent properties also play a central role. Acquiring and developing technical skills has been a key element in expressing themselves as artists.
While the American glass artist Harvey Littleton said in the 1960s that “Technique is cheap”, he believed that an artist was freer when technique did not get in the way. For Kari and Vidar it has been the opposite; technique has made them free to say what they want with the material. In this exhibition, they have invited artists with the same approach to their art.
‘Behold’ shows works that ‘retain’ something in different ways, whether it is the shape of a vessel, interpretations of an original function or objects that utilise the glass’s abilities to play with light and colour. What all the artists have in common is that they are eager to know their material to the full and to investigate the possibilities of glass. However, at the same time, they want to investigate what potential lies in something as basic as a corpus, jar, vessel or other container.
Although all the works relate to retaining in different ways, the expressions are many and varied. Cathrine Maske’s latest series ‘Glasslaboratoriet’ combines blown, freehand shaped glass and found glass elements from the chemical industry. The translucent glass sculptures contrast with the exquisite colour gradation in Eirin Bjørsland Hansen’s ‘Phoenix’, which the curators describe as both a masterpiece and eye candy. Peter Sutton’s glass work is often part of an architectural context where the glass adds colour to the light and plays with light and shadow. For this exhibition, he has made a new, site-specific wall work, based on the vessel shape, as part of his residency in S12.
‘Behold’is a continuation of the exhibition project ‘I & We’, which was shown in S12 in 2022, BWA Wroclaw, Poland 2023 and Rona Gallery, Lednicke Rovne, Slovakia 2023, and continues to build on S12’s desire to showcase Norwegian glass art.
The sixteenth annual ‘Glasshaus’ exhibition takes place at Parndon Mill in Essex, UK, from 28 September to 3 November 2023.
This year’s exhibition has been curated by four glass artists who have studios at Parndon Mill and who have over 100 years of glassmaking practice between them. They are Margery Lovatt, Yuki Kokai, Jon Lewis and Ewa Wawrysniak.
The curators have invited artists who have inspired, collaborated or converged with them on their own career journeys, and will exhibit beside them. The show will feature a variety of interpretations, imitations, repetitions and reflections in glass.
Glasshaus has become an exciting and anticipated event at Parndon Mill with a reputation to equal many prestigious glass art exhibitions in the presentation and quality of work shown.
Exhibitors include Karen Browning, Clare Cleary, Katharine Coleman MBE, Yuki Kokai, James Lethbridge, Jon Lewis, Margery Lovatt, Yoshiko Okada, Colin Reid, John Reyntiens MBE, Layne Rowe and Ewa Wawrzyniak.
Over the years, Parndon Mill has showcased many inspirational artists in its annual glass exhibition.
The Parndon Mill Gallery is situated in a former flour mill on the picturesque River Stort, located 20 miles from London and accessible by train from Liverpool Street Station in just 30 minutes.
Parndon Mill is at Elizabeth Way, Harlow, Essex CM20 2HP. Website: www.parndonmill.co.uk
Image: A selection of artworks on show at the 2023 ‘Glasshaus’ exhibition.
Three new exhibitions are opening at the National Glass Centre (NGC). These are Glass World, The Bernard Lloyd Collection and Hassina Khan.
Glass World is on from 14 October 2023 to 10 March 2024 in the NGC Gallery. It features artworks from its permanent collection of international studio glass by artists from, or based in, 30 different countries, from Sweden to New Zealand and the United States to Japan.
The substantial Bernard Lloyd Collection was donated to the NGC in 2022. This exhibition presents selected works from the collection, highlighting internationalism through the different styles and techniques in studio glass adopted by artists working in different countries at different times. It is on show in the Collection and Balcony Gallery from 16 September 2023 to 10 March 2024.
Another exhibition taking place from 16 September 2023 to 10 March 2024 showcases work by Hassina Khan. She completed her MA in Glass at the University of Sunderland in 2022 and returned for a residency with the NGC in 2023, funded by the Glass Society.
Hassina uses glass to express English words written in Urdu text, mimicking her experience as a bi-racial, English-Pakistani person. An example of Hassina’s new work has been acquired by the NGC adding to the international remit of its collection.
The exhibitions are free to enter.
National Glass Centre (NGC) is at Liberty Way, Sunderland, SR6 0GL, UK. Find out more via the website.
Image: ‘Metamorphosis 45’ (2001) byPeter Bremers, is in the Glass World exhibition. Presented by Hans and Nicola Eggerstedt, with Art Fund support. Photo: David Williams.
Three online lectures are being hosted by the Stained Glass Museum, Ely, this October 2023.
On 4 October (7pm) is a Zoom presentation entitled ‘Powell & Sons’ Opus Sectile: Innovation in Glass Mosaics’, by Lily Crowther, curator of Leamington Spa Art Gallery and Museum and DPhil student, University of Oxford and Victoria and Albert Museum. Find out more and book tickets here.
On 11 October (7pm) there will be a Zoom talk on ‘William Burrell’s Stained Glass Collection’ by Edward Johnson, curator of Medieval and Renaissance Art (Burrell Collection) and Dr Marie Groll of York Glaziers Trust. Find out more and book tickets here.
The third lecture takes place on Zoom on 18 October at 7pm. It is entitled ‘Pauline Boty: Collage into Stained Glass – a Pop Art Approach’. It will be presented by Dr Sue Tate, author of Pauline Boty: Pop Artist and Woman. Find out more and book tickets here.
Image: Self-portrait by Pauline Boty, circa 1958, in stained glass.
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