A new series celebrating traditional crafts starts on Sky Arts this month (July 2023). ‘Bill Bailey’s Master Crafters: The Next Generation’ showcases expert crafters in the fields of stained glass, wood carving and silversmithing who mentor junior craftspeople as they perfect their skills.
Hosted by musician, comedian and actor Bill Bailey, the series will also highlight the work of the Prince’s Foundation to support new generations of crafters to keep traditional building practices alive.
Mentor for the stained glass part of the show is John Reyntiens, whose studio has been commissioned to work on prestigious projects for venues including the UK’s Houses of Parliament. John oversees the work of three junior glass artists in the first episode, which launches on Sky Arts on Thursday 13 July 2023 at 8pm.
Image: Show presenter Bill Bailey (left) with John Reyntiens.
Phil Vickery was captivated by a glassblowing demonstration he saw as a boy, but it was not until he took a glass module during his art foundation course that he decided to pursue this rather than painting as a career. Linda Banks finds out more.
What led you to start working with glass?
I knew I wanted to be an artist from a very young age, but I couldn’t imagine where that would lead me! At the age of about eight, I went to the Isle of Wight and visited some glass studios there. I was amazed! I couldn’t stop watching the glassmaker blowing glass. There was so much action and beautiful fluid motion to what they were doing.
But, back then, I was still interested in painting. My direction changed when I went to Portsmouth University to do my foundation in art. They had a module in glass. I took it because I remembered my time watching glass blowing at the Isle of Wight and I was interested in painting on glass. I was intrigued by the way glass bent the light and distorted what was behind it, so the lecturer suggested doing the module. I was hooked right away! This led me to Wolverhampton University to study glass. As soon as I got in the hot shop I told my then lecturer, Colin Rennie, that this was all I wanted to do! And it was!
What glass techniques have you used and which do you prefer?
The techniques that I have used most are hot glass and cold glass. However, I have dabbled in kiln work, and I am interested in experimenting with copper plating. When I started, I was only interested in the hot glass process and I did everything that I could to not have to cold work my pieces! But, as time and my career progressed, I integrated cold working into my design ethos. It is now almost more important in my work than the hot glass.
Cold working is a major aspect of Phil’s practice, as shown in these ‘Faceted Vortex Sculptures’.
What is your creative approach? Do you draw your ideas out or dive straight in with the materials?
Initially, I designed works to form ranges. I imagined them in a sketchbook and then set to realising those ideas in the hot shop. Later, my work moved away from ranges and giftware to one-off sculptures. I adopted a more evolving approach to my practice where the ideas flowed from one to another.
When I have an idea or theme that I want to explore, I think deeply about it to come up with a starting point. The piece is made in the hot shop, and then sculpted with cold working to the most appropriate form that demonstrates my theme. Cold working depends on the individual piece and seeking out where the colours and interior forms of the glass look amazing.
The post process work helps me to bring out the most aesthetically and conceptually pleasing glass forms to fit my mental image. Once the sculpture is finished I use the piece as a starting point for my next sculpture by studying it closely and looking at how it can be improved. The next piece is then informed by that design, so my process evolves with each creation. This is the way that I have built up a large body of work of predominantly unique sculptures.
‘Vortex Wave’ by Phil Vickery.
What inspires your work?
The inspiration for most of my work is the beauty, and sublime ideas of deep time captured in lifeforms in the world’s seas. Most of my life I have lived by the sea, and its constant changing and beautiful variety havealways kept me captivated.
I am always driven towards expressing the inner self as well. I use my glass forms to explore complex theories of the mind. What is consciousness? These sculptures are a representation of the way people can think in an ephemeral way, and they also explore the flow of thought. Thoughts can flow from the subconscious like the way water can flow in a river.
Each piece of Phil’s work evolves from the previous one. This is an amber iteration of ‘Transient Thoughts’.
What message(s) do you want to convey through your art?
My hope is that people can take what they enjoy from my work. It’s quite open to interpretation, so it can be anything the audience takes from the work, be it beauty, a feeling of the sea, or the internal, or something I didn’t even consider. It’s purposely left up to the viewer.
Aesthetic beauty plays a huge part in my work. I use abstract expression to grow my visual language. I utilise art to create representational, tangible artworks about the natural power of thought, relationships and human nature, as well as investigating how the subconscious is woven into this equation.
My sculptures are tools of representational awareness; a focusing of human energy, to convey thoughts. I employ my own subconscious as a powerful lens to focus my own individuality and use the art to explore what connects us as a species. In my sculptures, colour and form represent various emotional states of the mind and the subconscious. I strive to realise this idea with my own forms of symbolism and representation.
‘Glass Vortex’ by Phil Vickery.
What is your favourite tool or piece of equipment and why?
I have two different things, one from each of my preferred techniques. My jacks from Ivan Smith are my best hot glass tools! They are my favourites as they are the best tools in the world, and they are no longer available as the maker died. Early on in my professional life, I had the pleasure of travelling to see Ivan in person to commission the tools and he even drew around my hands to custom fit them personally to me!
My favourite piece of equipment from cold working is my relatively new diamond flatbed. This was imported from His Glassworks in America. It has made my practice much more professional as it polishes perfectly flat and true. It has provided an upgrade to my cold working, in effect.
Do you have a favourite piece you have made? Why is it your favourite?
I don’t have a specific piece that I could call my favourite, but I would say that some of the best sculptures that I have made are from the ‘Thoughts’ range. I feel that they have the most context and are the most contemporary. They have more substance to them, and I feel they are my best work.
Another piece from the ‘Thoughts’ range showing textured facets.
Where do you show and sell your work?
I show my work mostly in galleries in the UK and around the world and I occasionally take part in glass exhibitions. In recent years the glass world seems to have shrunk, particularly in the UK, and so the places I show work have shrunk too.
Nature – and the sea in particular – are strong influences on Phil’s creative practice. This is ‘Faceted Vortex Wave’ in blue.
What advice would you give to someone starting out on a career in glass?
My advice would be to get as much experience as possible, and just keep working at it!
Do you have a career highlight?
The highlight of my career was when I was chosen for one of five Honorary Diplomas of the Jutta Cuny – Franz Foundation, Germany, in 2011. A close second was when I was a winner and recipient of the Renwick Award for Distinction in Glass, from Washington DC, USA, in 2009.
Where is your glass practice heading next?
I hope to continue my glass practice in the North East of the UK, but things are not looking great. The place I hire to blow glass, the National Glass Centre (NGC), is soon to be closed down. Like many glass studios in the UK, they are finding it hard to keep going, mainly because of the huge expenses they incur for energy, and materials. Across the UK glass courses are closing down, too, so I do have my worries about the future of my business and the UK glass world in general, but I will do my best to keep going!
And finally…
If you want to support the campaign to save the NGC then please sign the petition here.
About the artist
Phil Vickery with some of his ‘Vortex Pod Sculptures’.
Phil Vickery holds an honours degree in Glass Design (Major) and Photography (Minor) from the University of Wolverhampton. He gained a postgraduate qualification from the International Glass Centre, Brierley Hill: ‘Glass: Professional Development. Prof dev level 5’. While at Brierley Hill he won the Frederick Stuart memorial fund for ‘Best Blown Glass’. After this he won a scholarship residency at the Red House Glass Cone from 2002 to 2004.
In 2004-2005 he was an artist in residence at the Surrey Institute of Art and Design (Farnham University) where he taught basic glass blowing skills and assisted Colin Webster. While there he was sort-listed for the Glass Sellers Award, 2005.
In 2006 Phil achieved a Master of Arts; Glass with distinction at the University of Sunderland, where he became the artist in residence, and teaching assistant to Colin Rennie (UK), Jeffery Sarmiento (US), and Scott Chasling (AU).
He has won various awards for his glass work and in 2016 opened his own cold working studio in Sunderland with his partner.
Find out more about Phil Vickery and his work via his website, Facebook or Instagram: @philvickeryglass
S12 Gallery and Workshop in Bergen, Norway, are inviting applications for artist residencies from August to December 2023. Two 2-4 week residencies are available and one of them should be for a project focused on light.
Both Norwegian and international artists working in all fields, who can make use of the equipment in the S12 workshop, are welcome to apply.
S12 provides a fully equipped glass workshop for both hot and cold glass processes. See a full list of equipment here. The programme offers some workshop assistance, depending on the kind of work being made. Use of the workshop is free, and free accommodation is also provided.
The selected artists will have the opportunity to present their work at an open house event/artist talk. The artist working with light will be offered the possibility to show the work in the S12 gallery in December 2023.
Artists, designers and makers worldwide are invited to apply for the sixth John Ruskin Prize, which has the theme of ‘Seeing the Unseen, Hearing the Unspoken’ this time.
The John Ruskin Prize aims to attract entries from a wide range of artists and makers celebrating creativity in all mediums, encompassing all forms of glasswork, drawing, painting, print, sculpture, photography, textiles, animation, digital art, performance, installation and mixed media art, among others.
Up to 40 artists will be selected to show their work in an exhibition at Trinity Buoy Wharf in London from 1 to 18 February 2024.
A total of £8,000 in prize money will be divided between the award winners, who will be announced on 31 January 2024.
Five winners will be chosen by a selection panel for the following prizes:
1st Prize: £3,000
2nd Prize: £2,000
The Alan Davidson Under 26 Prize: £1,000
The International Prize: £1,000
The 2024 Kate Mason Prize for Innovation: £1,000.
For the first time, The John Ruskin Prize is open to international entries, allowing artists, designers, and makers working outside the UK to participate and receive a dedicated prize, worth £1,000. Submissions for this category must be digital, as the judging will be conducted digitally, eliminating the need to ship physical artworks for exhibition.
Works can be recent creations, or up to three years old, as long as they represent or interpret the theme of the exhibition. Individual artists, designers and collectives are all eligible to apply.
Presented by The Guild of St George and visual literacy charity The Big Draw, The John Ruskin Prize upholds the values of John Ruskin, the radical 19th-century writer, art critic, polymath and advocate for art’s power to reveal universal truths. This uniquely multi-disciplinary prize offers a platform for artists to explore and challenge artistic boundaries while honouring Ruskin’s influential legacy of recognising and supporting artists, designers, and makers who defy categorisation and embrace interdisciplinary practices.
Join the Contemporary Glass Society (CGS) and the Scottish Glass Society (SGS) this September for the latest in our series of Discovery Days being held around the UK. Open to all who are interested in glass, this promises to be an inspiring day all about this wonderful medium.
The Discovery Day takes place at Edinburgh University on Friday 8 September 2023. Participants will hear from three fantastic glass artists based in Scotland, who will talk about their work, as well as an international artist who will present via Zoom.
In addition, there will be demonstrations and a tour of the Edinburgh College of Art studios.
This is an unparalleled opportunity to meet the artists and find out about their journeys with glass, as well as to chat with others who share a passion for contemporary glass.
The speakers include Juli Bolaños-Durman, Dr Choi Keeryong and Koen Vanmechelen.
Programme for the day:
9.30am Registration and coffee (provided)
10.00am Welcome by Dr Jessamy Kelly from Edinburgh College of Art
10.15am Talk by Choi Keeryong (PhD)
11.15am Talk by Juli Bolaños-Durman
12.15pm Lunch (please bring your own)
12.45pm Walk to workshops escorted by student ambassadors
12.55pm Studio Tour by student ambassadors and demonstrations
1.55pm Demonstrations end
2.05pm Walk back to University
2.15pm Talk (speaker TBC)
3.15pm Tea and coffee (provided)
3.30pm Talk by Koen Vanmechelen
4.30pm Farewell
4.45pm End of day
Come along and meet old friends and make new ones.
Reduced price tickets are available for student members of CGS and SGS.
This Discovery Day is a joint initiative by CGS and SGS.
Venue: Edinburgh College of Art, The University of Edinburgh, West Court, Main Building, 74 Lauriston Place, Edinburgh EH3 9DF, Scotland.
Many glass artists have been among the 800 people awarded funding by the Queen Elizabeth Scholarship Trust (QEST) since it began the scheme in 1990. Now is your chance to join them as the latest round of scholarship and apprenticeship funding applications opens on 10 July until 14 August 2023.
Up to £18,000 is available to each talented craftsperson whose bid is successful.
This year, in addition to the scholarship and apprenticeship funding, new Emerging Maker Grants are being offered for the first time. This new funding will support talented, early-career craftspeople in their development. Makers with four years or less of professional practice, who have a strong connection to materials, technical skills and processes, can apply for up to £10,000.
The funding specifically supports training and education to enable makers to enhance their craft skills and advance their careers. The training can take many forms, from traditional college courses to vocational, one-on-one training with a master craftsperson, or a bespoke programme of short courses.
QEST will be running three ‘How To’ sessions via Zoom to introduce interested makers to the different funding available, as well as tips and advice for filling in applications, plus the opportunity to ask questions.
Throughout August and September 2023, architectural glass and textile artist Deanne Mangold will be presenting a retrospective of her work at Rhonda Cynon Taff in Wales.
A member of the Contemporary Glass Society, Deanne has worked in these media for over 40 years and, alongside the exhibition, will hold a ‘meet the artist’ session on four Saturdays with a demonstration of how stained glass is created (12 and 26 August plus 9 and 23 September).
The Prismatic Art exhibition runs from 2 August to 27 September 2023 from Monday to Saturday (10am to 4pm) at St Elvan’s Church, Aberdare, Rhonda Cynon Taff, CF44 7AB, Wales.
Deanne notes that sometimes there will be local groups in the space (usually Thursdays and Friday mornings), so it is worth checking before travelling.
The church is in the middle of the town with a car park next door. She describes it as a “large, beautiful building with many stained glass windows”.
It is also possible to visit Hirwaun Library and view the new library window (image of the making of this window above).
Glass artist Surinder Warboys has two large, innovative stained glass works on display in a wildflower meadow as part of the Waveney and Blyth Arts exhibition, at Potton Hall’s Sandlings Sculpture Park in Suffolk.
Originally completed almost ten years ago, the stained glass panels ‘Hellespont’ and ‘Prometheus’ have been revised and updated with stands so they are able to interact with the changing light of their surroundings.
“Light and its changeability fascinate me: the stained glass transmits, reflects and absorbs light that has travelled 93 million miles and that is continually being renewed. The panels are subtly faceted, producing changing angles of refracted light,” explains Surinder.
Her background in fine art and the conservation of stained glass has given her a dual understanding and approach to her work. She has adapted the medieval techniques of painting and staining to explore new approaches to painting on glass.
Since the 1990s Surinder has worked on glass commissions for buildings in the UK and US, encompassing everything from Suffolk churches, hospices, schools and country homes, to a farm cottage on Sanday in the Orkneys.
Her large, experimental paintings on glass have been selected for exhibition in the British Glass Biennale twice. However, until now, all her work has been for architectural projects, installed and experienced in a building.
Speaking about the invitation to exhibit outdoors, Surinder says, “I accepted knowing that presentation could be a challenge. To have dispensed with the supporting structure of buildings and to boldly stand in an open field alongside giant oak trees imbued with life-affirming qualities. I am delighted to present these works in the open – otherwise I would never have realised their full potential, embracing a new way of experiencing the science and poetry of stained glass.”
The exhibition is on now until 8 November and the Sandlings Sculpture Garden at Potton Hall is free to visit from 10am-4pm.
Potton Hall is on Blythburgh Road, Westleton, Saxmundham, Suffolk IP17 3EF.
Richard Jackson and Sally Fawkes launch their exhibition ‘Inspirer Expirer’ (Inhale Exhale)in the gardens at the Glass Museum François Décorchemont, in Conches en Ouches, France on 1 July 2023.
The show presents both their personal creations and collaborative works in the flowerbeds of the garden and in the chapel of the museum. From the exterior to the interior, the exhibition takes visitors from the monumental to the intimate.
François Décorchemont glass museum holds collections of glass art from the end of the 19th century to the present day in the fields of decorative arts, stained glass and contemporary sculpture.
‘Inspirer Expirer’ is on from 1 July to 26 November 2023. Opening hours are Wednesday to Sunday 2-6pm.
Glass Museum François Décorchemont is at Le V@l – 25 rue Paul Guilabaud, F – 27190 CONCHES, France. Website: https://museeduverre.fr/en
For more information about the work of Richard and Sally, visit their website: www.jacksonfawkes.com
Image: A mirrored sculpture from Sally Fawkes’ ‘Eternal Exchange’ series, made in gold and clear cast glass.
At the 2022 edition of the International Festival of Glass (IFG), part of the funding from Arts Council England was allocated to a disability and inclusion pilot project. Project Producer for this initiative, Jaqueline Cooley, explains how it came about, what was involved, plus lessons learned for the future.
The IFG, held in the Stourbridge Glass Quarter, takes place every two years and is the only festival that celebrates glass in the UK.The creative programme combines the whole spectrum of glassmaking with other art forms to push boundaries and develop new opportunities, ideas and collaborations for makers, artists and performers. The Festival comprises high quality exhibitions, international masterclasses, artist demonstrations and presentations, with over 500 artists represented.
A major part of the Festival is the flagship British Glass Biennale, which is the largest selling show of contemporary glass in the UK, featuring over 70 artists, designers and craftspeople. The exhibition features the latest work in all glass techniques and uses an anonymous selection process, giving emerging artists an equal opportunity to be selected alongside the top names in British glass.
In 2022 the IFG celebrated its first major international exhibition, ‘Expanding Horizons’, marking a significant development in programming, focusing on contemporary glass from Korea, Japan and China.
Disability and Inclusion pilot project
Inclusion was one of the priorities for the 2022 Festival, with a new pilot programme to make the event more accessible for Disabled/d/Deaf artists and visitors to give equal access to participate in the various Festival offerings.
The project covered a range of accessible activities, including: Creative Enabler training to give artists the knowledge and skills to support disabled/d/Deaf artists to access glass art; accessible Masterclasses; Deaf-led British Sign Language (BSL) interpreted tours and events, plus audio description tours. A hybrid international panel discussion took place, which discussed access in glass studios and the art of creative enabling.
Creative Enabler Training
Disabled artist Tanya Raabe-Webber devised and delivered this informal online training programme to both the Creative Enablers and the disabled/d/Deaf artists. Suitably skilled glass artists were invited to become Creative Enablers to support the practices of disabled artists working with glass. The training covered the social model of disability, the creative enabler role and how it differs from facilitation, providing support but not ‘helping’, appropriate use of language, meeting/connecting with the disabled artists and discussing what they would need/expect, Access to Work and access support/personal access when applying for Arts Council Funding.
Masterclasses
Four disabled/d/Deaf artists were invited to participate in a four-day Masterclass with internationally renowned glass artists from Korea, Japan, the US and the UK. Free places were offered with the costs of accommodation and any access support required covered. Of the four artists, two requested Creative Enablers, one required a note taker and one required a BSL interpreter.
Trained Creative Enablers assisted artists who wanted to join in Masterclasses.
Deaf-led BSL promotional video and tours
Disability and Inclusion pilot project Masterclass participant and Deaf artist Olivier Jamin is experienced in delivering deaf-led tours for galleries. We asked him to deliver Deaf-led BSL festival tours and commissioned him to make videos to promote them and the Festival to d/Deaf visitors.
In consultation with Olivier and the BSL interpreters we decided to run two 2-hour Deaf-led/BSL tours over the Festival weekend.
Although primarily aimed at Deaf visitors, Olivier was open to anybody attending the tours and did have other people tagging along.
Olivier Jamin consulted on the project and led a BSL tour of the event.
BSL interpreters on site
BSL interpreters were provided for the Biennale Private View speeches and the announcement of Biennale awards.We consulted with Olivier about how many BSL interpreters should be provided over the Festival weekend. We were not sure how many deaf visitors would attend. With two 2-hour deaf-led tours on Friday and Sunday, we decided to have two more BSL interpreters on site on Saturday and Sunday. Some demos had BSL interpreters because Olivier was interested in seeing them and we advertised these events on the website. For these demos we were able to get some information/text in advance, which was helpful for the interpreters. Olivier was keen that the BSL interpreters would also be floating at the event and available for requests on the day. This was excellent for deaf visitors to have choice, but difficult for interpreters who might have to interpret a technical demo with no advance information. We felt that, by choosing some demos in advance and having floating BSL availability for part of the time, we reached a balance.
Wheelchair-Accessible Glassblowing
The Festival received capital to make the site more accessible and this included some adaptations to glassblowing and flame working equipment. Two free sessions were offered for wheelchair-accessible glass blowing (two participants in each session) with experienced glass artists Nikki Williams and Corrina Field.
Panel Discussion
We included a panel discussion in the Festival programme called ‘Access in Glass Studios and the Art of Creative Enabling’. Panel members were Mandy Fowler (project evaluator and chair), Tanya Raabe-Webber (Disabled artist and Creative Enabler trainer), Cathryn Shilling (Disabled artist and Masterclass participant), Ben Wright (Artistic Director of Pilchuck Glass School, US), Ann Potter (Disabled artist, US) and Phillip Hickok (artist and Creative Enabler, Denmark).
Live Audio-Described Tour
In collaboration with British Glass Biennale curator Matt Duran we selected 10 works that could be touched during a live audio-described tour.
Website information
An access page was available on the website with links to it from all the other pages.
Deaf-led BSL tour at Collect exhibition
Olivier Jamin was contracted to deliver a deaf-led BSL exhibition tour of the Expanding Horizons exhibition at Collect Art Fair, Somerset House, London, in March 2023.
Olivier Jamie presented BSL descriptions of the exhibits at Collect in March 2023.
Successes
During the Creative Enabler training the introduction of the Social Model of Disability was a new concept for some of the disabled artists.
The Festival was able to support disabled artists who had previously requested access support.
Other people with access requirements came forward to discuss their own needs as a result of a letter being sent out to Masterclass participants about the pilot project.
Other Masterclass participants were very supportive of the disabled artists and welcomed this initiative.
Masterclass leaders and disabled artists were introduced before the start of the class.
Decisions were made in consultation with disabled people.
A total of 17 d/Deaf visitors were assisted by the BSL interpreters and attended the tours during the Festival weekend. Hearing people who attended found the tours very interesting.
Providing an email address to contact for further information about the accessible events (when required) worked well.
Less successful
It was difficult to budget in advance for the personal access budget at the funding application stage, not knowing who the artists would be at that point.
Noise in workshops and wearing masks for health and safety reasons sometimes made BSL interpreting and note taking difficult.
Some last-minute information about the classes made it difficult for the disabled artists to plan in advance.
Specialist technical information was tricky for the BSL interpreter and note taker, although lists of probable terminology were prepared in advance to help.
Some decisions about events were made quite late, which meant they were advertised late and this affected attendance figures. With new knowledge of what did and did not work it will be easier to plan next time.
Providing the BSL interpreters with information in advance was sometimes difficult for speeches and festival demos.
Thoughts for the Future
The Creative Enablers are keen to be involved again. Depending on future access requirements, others could also undergo the informal training.
We have not yet decided how it will work for the next Festival in August 2024. We may need to provide requested access and perhaps provide some discounted classes.It is hard to calculate the access budget without knowing who may request access.
We are very grateful for all the useful feedback we received from the participants and will take this into account when planning the 2024 event.
The funding provided by Arts Council England covered this project as part of the overall Festival budget. The funding process was long and in two stages. Many thanks to Arts Council England for supporting this project.
Anyone thinking of making an application for a similar project should speak to their regional arts council.
This article took highlights from the longer project evaluation report.
To find out more about the Festival, check out the website and subscribe to the news updates, or follow on Facebook: International Festival of Glass, Twitter: @IFoG2022, or Instagram: @ifog2022.
Project participants
Disability and Inclusion pilot project Masterclass participants:Cathryn Shilling, Julie Coakley, Olivier JaminandSuraya Meah.
Wheelchair-Accessible Glassblowing participants:Tanya Raabe-Webber,Liz Birch and Sindu Vijayan.
Creative Enablers:Zoe Garner, Becky Wills, Nikki Williams and Corrina Field.
Creative Enabler Trainer:Tanya Raabe-Webber.
Project Evaluator:Mandy Fowler.
Project Producer:Jaqueline Cooley.
Assistant Project Producer:Jo Newman.
Article by Jaqueline Cooley, Project Producer, Disability and Inclusion Pilot Project and International Coordinator of the International Festival of Glass.
Main feature image: Some of the artists who took part in the disability and inclusion pilot project’s wheelchair-accessible glassblowing.
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