In response to the recent news that historic stained glass window making has been placed on the Heritage Crafts Association’s (HCA) Red List of Endangered Crafts, the chairman of the British Society of Master Glass Painters (BSMGP), Steve Clare, has launched an appeal to the public to help secure its future. He is inviting people to make a donation to the Master Glass Painters Trust so that the organisation can action its goals.
The BSMGP was the principal advisor to the HCA in identifying the risks challenging the industry. These include:
Aging practitioners and a loss of opportunity for them to pass on their skills
The decline in dedicated educational courses
The decreasing use of contemporary stained glass commissions in buildings
The scarcity and high cost of materials.
The goals of the BSMGP are:
To inspire and support a new generation to enter the stained glass profession
To foster a resurgence in stained glass commissions and opportunities
To nurture a strong stained glass community.
How will the money be used?
Work to increase diversity within the sector and encourage and assist young people through apprenticeships and work placements towards careers in stained glass
Establish a mentorship programme so that emerging artists have the support they need to achieve their potential
Develop an outreach campaign to encourage architects and interior designers to use stained glass in new and historic buildings
Support regular stained glass exhibitions, competitions and opportunities, including a new prize at the British Glass Biennale in 2024.
See the organisation’s detailed plans for the future here.
Ideally, the One Thousand Friends appeal is seeking one-off donations of £1,000 to the Master Glass Painters Trust, enabling people to become a Friend. However, donations of anything from £1 will be gratefully received. Supporters can also become a Member from £45 a year, which includes the Journal of Stained Glass, or become a Friend by making a one-off donation to the Master Glass Painters Trust of £50, £100, £250, £500, £1000 or more.
All Friends receive an emailed quarterly Newsletter with updates on the appeal and those who donate over £500 will be recognised in the Journal of Stained Glass and can receive a Patron of the Master Glass Painters Trust logo to include on their website.
Glass artist and designer Yaron Meyer has an exhibition at The Onion Garden in London this June.
Originally from Israel, he describes himself as a lampworker, blacksmith, welder and more. He studied at the Bezalel Academy of Art and Design, developing his skills in glassblowing to combine with his experience in metal work.
The show opens on 1 June and continues until 30 June 2023.
The Lord Mayor of Westminster launches the event on 1 June at 5pm, followed by a drinks reception and musical entertainment from 5.30pm-9pm.
The Onion Garden is at 5 Seaforth Place, London SW1E 6AB.
Find out more about his diverse body of work here.
Image: Glasswork by Yaron Meyer that will be displayed at the tranquil Onion Garden.
International art exhibition, ‘The Enchanted Garden’ celebrates its 10th show in beautiful grounds in Belgium this June.
Predominantly featuring outdoor sculptures in a variety of media, the event will exhibit the works of artists from the Czech Republic, Ecuador, Estonia, Iran, Ireland, Israel, UK and US.
Between opening on 9 June and closing on 15 October 2023, the displays will change four times. The Enchanted Garden is open on Wednesdays, Fridays, Saturdays, Sundays and public holidays from 1pm to 8pm.
New alongside this year’s exhibition will be ‘(E)motion – Poems communicate with Sculptures’, presenting poems inspired by the sculptures.
Five British and Irish-based Glass artists are exhibiting for the first time at the Enchanted Garden in 2023.
Helen Twigge-Molecey is an award-winning artist and designer who enjoys working in different media and especially glass. She is interested in how you can effect change through a positive experience. Underpinning her work is a desire to make it beautiful, simple accessible and fun.
Emma Butler-Cole Aiken has discovered that traditional stained glass window skills also are ideally suited to creating robust garden sculptural artwork. Every aspect of material and construction – from the protective lead to the fired-on painted details – lasts for over 100 years in a cathedral window, so why not in a garden?
Amber Hiscott works internationally as an innovative architectural stained glass artist from her studio in Wales. She specialises in large-scale commissioned work in glass in the public domain.
Julie Coakley designs and makes complex patterns that are inspired by her love of travel. She is exhibiting a range of daisy-inspired fused glass pieces.
Ireland’s Helen Hancock combines her experience in making glass and educating women in breastfeeding by creating a unique concept – the breastfeeding milk glass for mothers, as a reminder of feeding her baby. She is exhibiting ‘hanging plants’ sculptures.
Between 5 and 23 June 2023 Contemporary Glass Society (CGS) members can submit images of glassworks that fit the theme of ‘Small but Magnificent’ for the next CGS online exhibition.
As CGS chair Susan Purser Hope says, “It’s quality not quantity that counts, so artworks do not need to be large, dominant or take up space to be of value or to inspire. Smallness can be just as magnificent as a huge piece of sculpture.”
This online selling exhibition is looking for little pieces of gorgeousness which are no bigger than 15cms in any aspect. They can be jewellery, beads, bowls, small artworks – really anything that is little, beautiful and inspiring.
This show is open to CGS members and items will be for sale online via the artists themselves. If you’d like to submit your work for this exhibition but aren’t yet a member of CGS, why not join via this link?
Full details of how to enter will be available to members from 5 June 2023.
The show goes live on 3 July 2023 and will be online for just over a month.
Master Glassblower Tom Young MBE passed away on 22 May 2023.
Tom was not only a master glassblower; he also had an outstanding knowledge of glassblowing. He was generous with his time and talent, never hesitating to help many glassblowers as they embarked on their careers.
Tom had been making glass for 70 years – from the age of 14 to 84. It truly was his life’s passion.
Tom was born in Glasgow in the late 1930s. He left school with few qualifications, but his brother suggested he apply to R & J Wood, based in the city centre, who were looking for apprentice glassblowers. They made medical and laboratory glassware for hospitals, universities and government research laboratories. Tom began his apprenticeship under Joe McCulloch and, when Joe decided to start up on his own, Tom followed as his assistant.
Scottish glassblowers were mainly employed in the chemicals industry, as 1950s Britain was recovering from the Second World War. As an apprentice Tom made multiples and this repetitive work led to his decision to move to Loughborough University’s chemistry glassblowing department.
In 1967 Tom became one of the first members of staff at the newly built Stirling University, where he led the Glassblowing Department. He was often asked to make decorative pieces for friends, family and charity auctions. This brought out his creative side and he started making decorative animals and perfume bottles. A popular product was a glass pig with a half penny inside, called ‘A Lucks Penny’.
Tom was awarded Master Glassblower status in 1977 by The British Society of Scientific Glassblowers (BSSG).
In 1979 Tom left the university to start his own lampworking business, Village Glass. He found a disused bakery in Bridge of Allan, which was perfect for glassblowing. With assistance from Scottish Development, his studio became a tourist attraction. Alongside, he continued to make lab equipment and supplied many of the distilleries and local university and research centres with glassware.
Tom was a founder member of The Scottish Glass Society and The BSSG Scottish Section. He was keen to keep the craft of lampworking alive and trained many apprentices, some of whom have gone on to become renowned glassblowers themselves.
The glassblowing studio and workshop moved to high street premises in 1999. Among his achievements, Tom designed the millennium spirit bowl, used for spirit safes in distilleries worldwide, a glass slipper for the Royal Ballet, plus various projects for Johnnie Walker, including thousands of glass pens for a promotional campaign.
In 1998 Tom’s Daughter Karen joined the business. When he reached 65 years old, Tom decided to retire and the retail business was sold as a going concern. Tom converted his summerhouse in the garden into a small studio and continued to make what he wanted without the pressure of running the business.
In 2012 Tom was inspired by a film named ‘The Angels’ Share’. This is the term for the small amount of evaporation that occurs when whisky is maturing in the cask. He decided to represent this phenomenon by creating a handblown glass angel, filling it with whisky and sealing it forever. Karen came back and helped Tom launch Angels’ Share Glass to market the angels from premises in Bridge of Allan. He trained new glassblowers for the venture, which remains a recognised Scottish glass manufacturer today.
Tom was awarded an MBE in 2017 for his services to the glassblowing industry and his talent and legacy will live on in the people he has taught.
His archive is being digitalised and his designs and processes recorded, to inspire and train the glassblowers of the future.
Image: Tom Young creating the lampworked glass he loved.
If you are graduating from a British or Irish accredited course in 2023 and you work with glass, don’t forget to apply for this year’s Glass Sellers’ and Contemporary Glass Society (CGS) Prize.
From 5 June 2023 you will be able to apply for this exciting opportunity via the CGS website, offering the chance to win prizes of cash, vouchers, books and CGS membership, plus a subscription to Neues Glass – New Glass: Art & Architecture magazine.
In addition, the winner, second prize winner, two runners up and commended works will appear in the annual CGS New Graduate Review – a 16-page publication that is circulated globally by CGS and Neues Glass – New Glass: Art & Architecture, providing invaluable publicity.
PRIZE DETAILS
First Prize: £500 cash £200 vouchers from Creative Glass UK A promotional package, including cover and feature in New Graduate Review Two years’ CGS membership A year’s subscription to Neues Glas – New Glass: Art & Architecture magazine Alan J Poole will provide a selection of glass-related books.
Second Prize: £150 cash £100 voucher from Warm Glass A year’s subscription to Neues Glas – New Glass: Art & Architecture magazine One year’s CGS membership.
Runners-Up Prizes: Two Runners-up will each receive: £50 vouchers from Pearsons Glass A year’s subscription to Neues Glas – New Glass: Art & Architecture magazine One year’s CGS membership.
There will also be an online exhibition on the CGS website showing all the work featured in the New Graduate Review 2023.
SELECTION CRITERIA
You must be graduating from a British or Irish accredited course in 2023. Work must consist of at least 50% glass. The work will be judged for quality and concept.
As students emerge from their education, CGS and the Worshipful Company of Glass Sellers aim to support graduates at the beginning of their journey towards a long career in glass making. The New Graduate Review offers graduates the chance to promote their work to a worldwide audience, with many previous winners going on to establish themselves as professional makers.
A panel of experts will select the prize winners. Winning entries will be announced by 14 August 2023.
The application period runs from 5 June to 17 July 2023. Full details and application forms will be available on CuratorSpace via this link.
CGS thanks all the sponsors who have made these opportunities possible: the Worshipful Company of Glass Sellers of London Charity Fund, Professor Michael Barnes MC, Creative Glass, Pearsons Glass, Warm Glass, Neues Glas – New Glass: Art & Architecture and Alan J Poole.
New Designers (ND), the UK’s largest graduate design event, returns to the Business Design Centre, London, for its annual gathering this June and July, attracting industry and members of the public interested in the freshest innovators in design.
ND takes place over two separate weeks and features different craft and design disciplines each week, with over 3,000 creative graduates celebrating innovative and exciting emerging design talent.
Among the graduates exhibiting glass this year is Nuala Torp, showing with Manchester School of Art. She specialises in glass and ceramics and says that her work exists to distract from the formality of the everyday. She has developed playful processes that question the perceived. Torp works instinctively and often spontaneously to find a balance between materials, colour and form. This creates a unique and distinctive visual language, as seen in her recent project, Ludic (pictured).
Ludic vases by Nuala Torp will be among the glass work displayed. Photo courtesy of the artist and Manchester School of Art.
ND Selects
ND Selects is a curated space dedicated to shining a light on new businesses in the design industry. Visitors can expect to see products that have just made it to market. Each exhibitor is hand-selected by a panel of industry experts for their innovative designs. This year’s curator is Louisa Pacifico, founder of Future Icons. Louisa selects makers and designers to represent and nurture through business consultancy and curated showcases.
ND Awards
This year’s ND Awards programme offers over 30 awards, in the form of prizes and industry opportunities, from some of the UK’s leading design brands, including Hallmark, Joseph Joseph, Anglepoise, Tatty Devine and Habitat.
ND Futures
ND Futures is the schools programme aimed at 15-18 year olds, offering them guidance and inspiration in the hope that they will consider a career in design. 2023 sees the introduction of the ND Futures Fund, whereby visitors can donate at checkout to enable underprivileged school children in the borough to visit ND and start their journey on a design career.
ND Educates
Alongside the exhibitions, there will be inspiring talks and workshops from leading brands, designers and industry experts presenting insights into the latest design trends and themes in the sector.
Founded in 1985, ND has helped launch the careers of some of the UK’s most prolific designers, including Bethan Gray, Jay Osgerby, Stella McCartney and Lee Broom. It provides a platform for graduates to present their visionary ideas to the public and industry professionals. It is presented by Immediate Media.
The latest details of New Designers 2023 can be found here and ticket options are available via this link. Contemporary Glass Society (CGS) members can get a special 20% discount off full ticket prices bought in advance – look out for the code in the CGS weekly emails.
Main image: A view of New Designers 2022. Photo courtesy of New Designers.
Glass artist Mathieu Grodet has combined his love of drawing with several different glass techniques, most recently settling on the creation of murrine as a vehicle for his painstaking designs, many of which capture significant quotes and phrases. Linda Banks finds out more.
You have a background in drawing and illustration. What led you to start working with glass?
While I was studying illustration and drawing in the late 1990s, the world was shifting to digital, with computers in many homes. When I started working with glass, the trend was not to work with your hands but to go towards the new El Dorado – the tech revolution. So glass came into my life just when I was looking to escape from the digital ‘promised land’. Working with my hands to create objects seemed much more of an engaging, fun challenge and possible future for me as an artist.
A detail of an enamelled glass goblet by Mathieu Grodet.
What glass techniques have you used and which do you prefer?
I began my journey by immersing myself in the hot shop to learn glass blowing. Initially, I created goblets using the Venetian technique. As I wanted to make them unique, I started to transform them with a Dremel tool, engraving them with my own original illustrations.
Later I learned the enamel method of painting on various glass shapes and I was able to make my illustrations more fanciful and full of colour. While it gives an alternative way to express oneself on glass, the enamel technique can be time-consuming and technically difficult. The firing process can be stressful and mistakes are unfixable. In one instance, three months of work on one piece was botched after an issues with the firing. I haven’t worked with enamel since, but I will come back to it eventually, as it does give so much artistic space.
‘Never and ever’ enamelled glass piece made at the Tacoma Museum of Glass in 2019.
In parallel with glass blowing, I learned flameworking. I quickly discovered it was far easier to put together a small flameworking studio than a hot shop and I began with beads and small sculptures.
‘Bankster’ is an example of one of Mathieu’s flameworked sculptures.
At Loren Stump’s Corning Museum of Glass workshop, I learned the ancient technique of murrine. When the pandemic hit, I finally had some time off from teaching to focus on flameworked murrine at home. Now I spend a lot of time in my studio focusing on this method.
Glass blowing will always have a special place in my heart. Your entire body is needed to work the hot shop and I love the physicality of engaging with fire and water – it is playing with terrestrial forces – something bigger than us.
However, now I am enjoying the art of murrine and its technical and strategic aspects. It is like building a house; you need to carefully plan every steps over weeks. It also involves other diverse techniques, such as cold working, marquetry and mosaic. I feel in uncharted territory on the murrine planet. It is like I can barely see in the dark and am going forward with a lamp torch. I don’t know where I am going and I love that. I feel like a researcher, an explorer and maybe I’ll discover treasures on the way.
‘La Déclaration des Droits de l’Homme et du Citoyen’ translates as the Declaration of Human Rights and was drawn up in 1789. Mathieu says that, while it is not perfect nor complete, he believes it is a powerful statement that needs to be heard again. He recreated it in mosaic style using over 17,500 letters composed from murrine tiles. Dark red was used to represent blood, with the ivory coloured background symbolising “the ivory tower that freedom has to be taken from”. The frame dates from the late 1800s. See the finished piece with the image of Mathieu at the bottom of this article.
What is your creative approach? Do you draw your ideas out or dive straight in with the materials?
I like to draw inspiration from many sources – I listen to French radio and podcasts and read new and classic books. I write down lyrics, quotes, conversations etc, and all is blended with sketches and drawings of ideas that I have in my notebooks. I keep coming back to the notebook as a safe line.
Over time, most of my illustration work has merged with my glass practice, with both feeding each other. I have many ideas and sketches in my notebook, and not all of them are good, so it can be difficult to select which idea to dive into next. I can spend weeks thinking about the next project. Lately, I am even using geometry tools, such as a protractor or compass, to be more accurate with the murrine – tools I used to consider too authoritarian and academic.
These three images above show how Mathieu builds up each design in sections from the central part, adding more pieces around the outside each time.
What inspires your work?
I am inspired mainly by the past, especially objects – the older the better.
I am fascinated by thinking about people like us 1000 years ago and what they would be doing in their day-to-day lives. When I am in a museum, I think about the makers of the objects – why they created them and what the context was for those men and women to produce such work.
I like looking back to learn, to try to decipher patterns and modes.
At the end of the day, we all talk about time and how we can try to hold on to it, don’t we?
What message(s) do you want to convey through your art?
This is a big question but I hope my work inspires people to discover and question.
In some of my latest work, I have actually relayed a lot of the messages of others through my work – from interesting thinkers and artists, like Percy Bysshe Shelley, Malcom X, Howard Zinn, David Bowie, George Orwell, Pussy Riot and Rousseau.
A quote from the poet Percy Shelley flameworked in 2021.
Text is a very effective way to carry a message and those people are far more talented with words than I am. It is also very comfortable and convenient for me to use their words to carry the old message of freedom.
‘Deus Sive Natura’ flameworking.
What is your favourite tool or piece of equipment and why?
The jacks tool. It looks simple but it is quite intricately designed and can be used in so many ways. It is so effective and means I can achieve an incredible range of shapes. It is like a blend of chopstick and sword. It gives level and leverage and is the ultimate guide – wise and always reliable. When applied to the rotating glass, it can feel like riding down a snow slope on skis.
Do you have a favourite piece you have made? Why is it your favourite?
I have a deep affection for a recent murrine I made with a Goethe sentence saying, ‘Nothing is worth more than this day’. It is in a round format and I think this is how to live and the circle is done. What else is there to say?
Where do you show and sell your work?
I show and sell my murrine work online through social media, as the pandemic pushed me to move online. I have some bigger work represented at the Sandra Ainsley Gallery in Toronto, Canada.
Mathieu’s illustrative skills are demonstrated in this enamelled plate from 2018.
What advice would you give to someone starting out on a career in glass?
I would say go and learn with the artists you love and learn their techniques. Another suggestion is to explore the networks to sell that type of work. It is also great to attend gatherings, conferences and other events in this small glass world; it is good to meet the players, as it is all about human contact.
Do you have a career highlight?
I hope it is still to come. Also, when my glass doesn’t break.
Where is your glass practice heading next?
Though I am not completely certain, there is a mix of anxiety and excitement of going in the direction of murrine. I feel enough challenges have been raised with the murrine to keep me busy for a while. I hope to get back to the hot shop to use the murrine in conjunction with bigger pieces like bowls or goblets.
Is the global energy crisis affecting your practice?
With my oxygen concentrator, I produce the oxygen I need with a small amount of electricity. The use of propane is also fairly low with soft glass, so I am not that directly affected by the global energy crisis. That said, the glass factory in Venice that I buy my glass from is heavily affected. This may make the price of glass rise in the future. For me this is not good news, as making murrine uses a lot of glass.
And finally…
The history/story of murrine still needs to be written. It is an ancient way of producing images as the Egyptians did and it has been forgotten for too long. For those who have the time, it is a fascinating technique to explore. The possibilities are endless and, in a way, it is just the beginning of something very old.
About the artist
Mathieu Grodet in front of his completed ‘Declaration of Human Rights’ murrine mosaic piece.
Mathieu Grodet is a glassblower, flameworker and illustrator born in Orleans, France. He lives and works at his studio in Killaloe, Canada, creating pieces that bring the past of glass together with themes of the present using traditional techniques with a modern twist. He marries and reconstructs form, function and design with the aim of creating a discussion.
Mathieu also lectures and teaches glassblowing, flameworking, and enamelling techniques. He has conducted workshops and demonstrations in China, Japan, Turkey, Ireland, Canada and the US.
His work is in private collections across Europe and North America and it can be seen at the Corning Museum of Glass and the Art Institute of Chicago.
Stained glass window making (historic windows) has been added to the Heritage Crafts Association’s (HCA) Red List of Endangered Crafts 2023.
The British Society of Master Glass Painters (BSMGP) states that it has known for some time that the making of work on all scales was threatened, and particularly the design and making painted and leaded stained glass windows on a large scale for architectural settings.
Steve Clare, chairman of the BSMGP said, “Obviously there are mixed emotions on receiving the verdict from Heritage Crafts that this important strain of our craft is endangered. On one hand it confirms our view that, despite our efforts to encourage the next generation of artists and craftspeople to join, that we are now at dangerously low levels of professionals to protect the UK’s heritage of stained glass making. On the positive side, we hope that this announcement will allow the Society to shine a light on the problem and to galvanise others to help us create a renaissance in the use of stained glass and to therefore provide a future living for apprentices coming into the craft.”
The BSMGP provided HCA with data from various sources for the expert panel to consider (including surveys with the membership). The review focused on:
loss of skills
aging practitioners
the lack of opportunities for skilled makers to pass on their skills
the decline in educational opportunities and courses
the lack of training and employment opportunities with larger
companies
the scarcity and rising costs of raw materials
relevance in today’s world
Talking about the plans for creating a renaissance in the use of stained glass, Deborah Parkes a BSMGP council member and Head of Projects at the Society said, “In 2023, stained glass is seen by so many as an art of a bygone era … for churches or doors in Victorian properties. My job therefore is to inspire homeowners as well as professional specifiers (architects and interior designers) to look again at its potential. The vision is for a virtuous circle – a renaissance in stained glass will create more demand for the skills of artists and associated craftspeople, allowing the dwindling number of accredited professionals to take on apprentices and encourage more young people to enrol on courses.”
Why has stained glass making been given endangered craft status?
The HCA notes that skills in designing and cartooning for stained glass in historic buildings take time to develop and traditionally these skills are passed from master to apprentice or teacher to student over years. There are specific challenges in designing for traditional windows, such as: how light interacts with the architecture; choice of lead sizes (for structure and aesthetics); the quantity and quality of paint used to filter the light; designing windows that use the shapes of the glass pieces and position of tie-bars to maximise the physical strength of a window constructed with lead. Removing and installing new and historic leaded panels in large stone windows requires specialist skills in stone and metalwork. There are only a handful of studios left in the UK capable of this highly specialised work.
One issue affecting the survival of such stained glass projects – and other crafts on the endangered list – is the contraction in supplies and suppliers. While the HCA states that mouth-blown flat glass has become ‘extinct in the UK’ after English Antique Glass stopped production in 2022 when it moved from Birmingham to Oxfordshire, as readers of the CGS Glass Network May 2023 print edition will know, English Antique Glass remains in business and has large stocks of this glass available.
Hettie Bowles, Operations Director at English Antique Glass, confirmed that the company is still providing other glass products to consumers and glass materials to the trade, including Norman Slabs, Bullions and other blown glass work. She stated that the company retains the skills and knowledge to restart flat glass production in the future.
In addition, our Glass Network cover story features John Reyntiens MBE, whose architectural stained glass business continues to find success with commissions like the Queen’s Platinum Jubilee Window of 2022 and two windows installed in Speaker’s House at the Palace of Westminster in time for the coronation of King Charles III in May 2023.
CGS members can read the digital edition of Glass Network magazine via the Members’ Area in the Resources section of the website.
Read more about the HCA’s Red List of Endangered Crafts 2023 here.
August 2024 will see the International Festival of Glass celebrating its 20th anniversary with its 10th biennial gathering in Stourbridge, West Midlands.
However, the organisers have announced that this will be the last Festival organised by the Ruskin Mill Land Trust (RMLT). Festival Director Janine Christley and the RMLT Trustees have regretfully decided that they are longer able to commit the considerable time and attention needed to put on the Festival and the British Glass Biennale exhibition.
Janine explains, “Our focus must be on our primary charitable aim, working with young people with learning difficulties. We will continue promoting and supporting the glass community at The Glasshouse, with the research and development of glass made specifically for therapeutic use, a new dedicated gallery for the Ruskin Glass Collection and smaller glass-related events and exhibitions.”
However, she hopes this decision will not mark the end of these major events in the contemporary glass calendar. “We would welcome interest from any organisation or consortium who may be prepared to consider taking over the International Festival of Glass and/or the British Glass Biennale and would work with them on a handover after the next festival in August 2024,” she continues.
This decision does not jeopardise the 2024 event, which will take place as usual from 23-26 August 2024 in the Stourbridge Glass Quarter. The call for entries to the 2024 British Glass Biennale and the International Bead Biennale will be announced in autumn 2023, so start planning what you will submit for the final exhibition to be hosted by the RMLT.
If there is something you have always wanted to see or do in the Festival, email the organisers on ifg@rmlt.org.uk. And if you are interested in taking these events on beyond 2024, do contact them on the same email address.
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