On Tuesday 28 October 2025, the Contemporary Glass Society’s (CGS) Administrator Helen Slater Stokes was invited to the Houses of Parliament in London for a reception highlighting the importance of the UK glass industry, hosted by David Baines MP, who represents the St Helens North constituency – a region with a long glass heritage.
Helen Slater Stokes with her visitor pass for the Houses of Parliament.
The event, held in the Terrace Pavilion at the House of Commons, was the UK Glass & Glazing Collective Parliamentary Reception, titled ‘Bringing Glass and Glazing into Focus’. It brought together members of the Collective, namely the British Glass Manufacturers’ Confederation, Glass Futures, Glass & Glazing Federation, and the Worshipful Company of Glass Sellers of London to highlight the importance of the industrial glass sector’s £7 billion contribution to the UK economy as the government develops its Industrial Strategy.
About the UK Glass & Glazing Collective
The UK Glass & Glazing Collective unites the UK’s leading glass and glazing organisations, including manufacturers, processors, installers, recyclers, and innovators, to champion a sector vital to Britain’s industrial strength and net-zero ambitions.
Key Speakers and Policy Priorities
David Baines MP speaking at the Terrace Pavilion at the House of Commons.
Speakers outlined the challenges and opportunities facing the UK glass industry. They highlighted the need for partnership between government and industry, championing the following key policy actions:
Enable a competitive transition to Net Zero;
Reform recycling legislation to maximise glass recovery;
Level the playing field in producer responsibility and deposit return schemes;
Incentivise high-efficiency glazing and UK-made glass;
Provide policy stability and strategic engagement.
Presentations were made by: Chris McDonald, Parliamentary Under Secretary of State for Industry; David Baines MP, Member for St Helens; Sarah Champion MP, Member for Rotherham; Mike Butterick, Chair of the Flat Glass Manufacturers Association (FGMA); Dean Butler, President of British Glass; Adrian Curry, Chair of Glass Futures; and Steven Heath, Technical Director at Knauf (Glass Mineral Wool Insulation).
The ‘War Memorial Window’ in Westminster Hall, was designed in 1952 by Sir John Ninian Comper. This large, stained-glass window at the south end of St Stephen’s Porch contains coats-of-arms or initials of members and staff of both Houses who died during the Second World War. Below is a memorial to those killed during the First World War. Further details on Sir John Ninian Comper are available from the Norwood Society website: Sir Ninian Comper.
The CGS Perspective
Speaking after the event, Helen Slater Stokes said, “CGS hopes that the Collective’s collaborative strength will help amplify the voices of smaller glass businesses, as well as those within the educational and creative sectors. It’s vital that key glass skills – many of which are at risk of being lost – are recognised, supported, and protected.”
Helen continued, “The visit to Parliament was a memorable and inspiring experience. Passing through airport-style security and walking into such historic spaces – majestic architecture filled with beautiful stained glass, intricate stone and woodwork – was thrilling.
“The afternoon combined this sense of occasion with meaningful discussion. Hearing about the challenges facing the industrial glass sector and engaging in lively conversations with both familiar and new contacts made the day incredibly worthwhile.
“We look forward to building on these connections and ensuring that contemporary creative glass continues to have a voice alongside industry in shaping the future of glass in the UK. We’ll keep you posted.”
The ‘New Dawn’ window (2016) was designed by Mary Branson, Parliamentary Artist in Residence, to mark the 150th anniversary of the Women’s Suffrage movement. The glass components were made by CGS member Adam Aaronson (watch a film about the making of these here). The window is the first permanent contemporary artwork in the Palace of Westminster. It is located in St Stephen’s Porch, directly above the entrance to St Stephen’s Hall and comprises many blown glass roundels to represent the scrolls of parliament that gave women the vote, as well as the many people involved in the campaign. Find out more here.
Talented and versatile glass artist Sophie Longwill loves pushing the boundaries with her glass practice. CGS Glass Network’s editor, Linda Banks, finds out more.
What led you to start working with glass?
I originally had the opportunity to try glass in the first year of my undergraduate degree in 2012 at the National College of Art and Design in Dublin, Ireland. I immediately fell in love! I had previously completed a two-year diploma at Grennan Mill Craft School in Co. Kilkenny where I had the chance to learn metalwork, ceramics, printmaking, drawing, weaving and batik, so I already knew that I loved hands-on making and exploration with different materials and was so excited by the seemingly endless possibilities with glass. I have been working with it ever since as my primary sculptural medium and last year completed an MA in Ceramics and Glass at the Royal College of Art (RCA) in London.
This piece is called ‘Message in a Bottle’. Photo: Roland Paschoff.
What glass techniques have you used, and which do you prefer?
I think I have tried almost every glass technique there is, including kiln-forming, coldworking and the hot glass techniques of flameworking and glassblowing. After my degree I got myself a little kiln and focused on pâte de verre and other kiln techniques, but I love to dabble in everything. I especially enjoyed combining pâte de verre and glassblowing during my MA and while on a residency last year at Southern Illinois University (SIU) and have also been experimenting with combining glass with electronics, such as Arduino microcontrollers.
Please tell us more about your creative approach. Do you draw your ideas out or dive straight in with the materials?
My process generally begins with a period of deep research, following different threads of curiosity and inquiry. I am a voracious reader and love to learn new things. For example, my current book pile includes texts on quantum physics, Jungian archetypes, microscopic organisms, philosophy, and ritual practices. Once I feel the connections forming, I begin exploring my ideas through sketching and sculpture. I try to maintain a flow state while making, allowing an openness to what may come through, drawing on the embodied and tacit knowledge built up from years of creative work. I often don’t have a set design or plan and prefer to be in the moment, responding and collaborating with the material.
‘Lunaria I’ features a vessel containing handwritten messages. Photo: Roland Paschoff.
What message(s) do you want to convey through your art?
My work is often an attempt to express or capture intangible or ephemeral parts of life and so I find the amorphous magic of glass is brilliantly suited to the narratives and concepts that interest me. I try to imbue the objects and experiences that I create with an energy and curious beauty that draws people in, and hope to convey the feeling of flow, interconnection and wonder.
What is your favourite tool or piece of equipment and why?
My favourite and most important tool would have to be my hands! All through my life these brilliant tools have helped me make sense of the world around me through making. I think, especially because I am neurodivergent, making gives me a way to express and translate the thoughts and feelings that I struggle to articulate or communicate through language alone.
Do you have a favourite piece or collection you have made? Why is it your favourite?
My favourite work is generally my most recent because I feel most connected to it. My current favourite is a piece called 1000 Fleeting Moments, which is an installation work made of 1000 individual flameworked leaves that I made while on the residency at SIU last autumn. It is the largest-scale work that I have made so far in my career. I love that it has a large presence and impact and yet is made of many tiny individual components, much like ourselves – from our bodies to our communities. It was quite a labour of love with hundreds of hours of work. When it all finally came together it was a really joyful experience for me personally, but also has had the most beautiful feedback from the audiences who have seen it.
The installation piece ‘1000 Fleeting Moments’. Photo: Roland Paschoff.
I exhibited it at a solo exhibition in Vergette Gallery in the United States at the end of the SIU residency and then brought it home to Ireland, where it was displayed in Uillinn West Cork Arts Centre earlier in 2025. At that exhibition it was voted by the public as one of their favourite artworks alongside the work of my studio mate Ben Reilly, which was such a special experience and validating for my practice.
Detail of some of the flameworked leaves in ‘1000 Fleeting Moments’. Photo: Roland Paschoff.
Making this piece gave me a deeper understanding of my practice and I am continuing to explore this scale and way of working in the new body of work that I am developing now. I am excited to see how it fares at its next outing at the Stanislav Libensky Awards Exhibition in Prague in December 2025.
Where do you show and sell your work?
I show and sell my work directly through my website and social media, as well as in exhibitions. I had a piece in the ‘Connecting’ exhibition at the National Botanic Gardens in Dublin with the Glass Society of Ireland which finished recently, and the upcoming Libensky Awards, as mentioned above. Prior to those, I had work in a show in Hypha Studios in London and the RHA Annual exhibition in Dublin. I am currently finishing up a commission for Cork Opera House which will be part of their collection on permanent display, which is very exciting.
Do you have a career highlight?
I have been so fortunate to have had a wealth of opportunities in my career. My highlight so far is receiving the Märit Rausing Scholarship Award to do my Master’s degree at the RCA. I had always dreamed of going to the RCA so it was a real “pinch me” moment! It also came at the right time, when I was ready to push myself and my work to the next level. I learned so much and was in the most wonderful group of talented artists who I am honoured to call my friends.
The entirety of last year was such a highlight, as I also got a scholarship to take a class at Corning Museum of Glass and then had the residency at SIU. It was a period rich with inspiration, which is continuing to feed my practice and no doubt will do so for years to come.
Sophie showing off the detail of a glass ginkgo leaf in the studio. Photo: Rachel Doolin.
Where is your creative practice heading next?
I have a studio at the National Sculpture Factory in Cork and am developing a new body of work, weaving together the threads of inquiry that cropped up in the last year during the MA and residency. I am really enjoying mixing glass with other materials and working to a larger scale.
I’ve been busy building my creative network, connecting with curators and other arts professionals and my goal is to continue partaking in lots of exhibitions and hopefully get a significant solo exhibition here in Ireland. I think as artists our career path is never linear so it is hard to know exactly what will come next, let alone plan for it! So, I will keep working away and see what opportunities come about.
And finally…
I just want to say thank you for this opportunity and for all the great work the Contemporary Glass Society does. It is such a valuable resource and community, and I am proud to be a part of it.
Sophie Longwill in the studio. Photo: Rachel Doolin.
The Contemporary Glass Society (CGS) invites members to the Annual General Meeting, followed by a Meet the Maker evening presentation from eight exhibitors in the CGS ‘A Sense of Place’ online show.
The AGM and Meet the Maker take place on Wednesday 12 November 2025 online from 7.30pm. Members have been sent the link and passcode for the Zoom via email. Anyone who has not received the link and wishes to attend, please contact Helen Slater Stokes on admin@cgs.org.uk .
AGM AGENDA
WELCOME BY CHAIR
NOTIFICATION OF ANY OTHER BUSINESS
APPROVAL OF AGM MINUTES 2024
THE CGS YEAR, Chair’s report
TREASURER’S REPORT
ADMINISTRATOR’S REPORT
RESIGNATION OF Trustees/Board Members
Katharine Coleman
Mike Barnes
ELECTION OF Trustees/Board Members
RESIGNATION OF OFFICERS
All
NOMINATION AND ELECTION OF OFFICERS
Chair & Project Manager – Sarah Brown
Treasurer – Elena Fleury-Rojo
Company Secretary/Administrator – Dr Helen Slater Stokes
The 2024–2025 accounts will be available on request.
CGS is committed to equality of opportunity for all and positively values diversity.
Charity Number 1153382, Company Number 5062300
Following the AGM, Bob Leatherbarrow, Dori Settles, Laura Rivolta, Michelle Gray, Mike da Ponte, Tali Grinshpan, Teresa Chaplowski and Vicky Higginson will share the stories and inspirations behind their glass work as presented in the A Sense of Place exhibition. The show features the work of 77 international CGS members, who explore how glass art expresses the emotional and cultural ties we have to the spaces around us.
We look forward to welcoming you to the AGM and artists’ presentations.
Image: ‘Sanctuary’ by Tali Grinshpan is one of the artworks to be highlighted in the Meet the Maker discussion. Photo: Keay Edwards.
Renowned sculptor and glass artist, David Reekie, has completed his first portraiture commission for major glass collector, Mark Holford.
David has travelled the world giving workshops and lectures on lost wax glass casting and his work is held in museums worldwide, including the V&A in London.
The idea for the commission came about in 2023, during a summer break in France. Mark had invited David and his wife Pam to stay with him at his villa.
Mark suggested the idea of a glass sculpture showing himself and David in conversation – as artist and collector.
David was intrigued by the idea but nervous about taking on a commission involving portraiture.
When he returned to the UK, he started some preliminary sketches and conducted a photography session with Mark. However, he did not start on the piece until 2024.
“I used the lost wax casting technique to form the glass figures and recorded the whole process of making the piece from start to finish,” David explained. “The work progressed well and I finished it by early 2025. I was very pleased with the resulting artwork.”
Mark is also delighted with the artwork and said: “While staying with us in Nice, David gave me a pencil portrait of myself. This started the conversation, which became an idea, which became a commission and is now a reality.
“The result is stunning and celebrates my long and fruitful relationship with David over many years. Long may it continue.”
The glass sculpture, ‘A Thoughtful Moment Between Artist and Collector’ now sits proudly in Mark Holford’s collection, alongside other pieces by David.
Mark has been a glass collector since he was two-and-a-half years old, when his mother gave him his first piece, a 1953 coronation goblet. His collection stands at over 250 pieces, a third of which is on permanent loan to The World of Glass in St Helens, Merseyside. Mark is the patron of the museum as well as being patron of the Contemporary Glass Society and the Guild of Glass Engravers.
Theo Brooks describes what he gained from his Amanda Moriarty Prize residency at Teign Valley Glass Studio, where he developed two new strands of work.
On the residency, I wanted to respond to previous research I had done into archaeology. I had been inspired by reading archaeological journals with articles like ‘Masks and Ritual Performance on the Island of Cyprus’ by Erin Averett, among others.
Sketches of different mask designs for translating into glass. Photo: Theo Brooks.
I wanted to create contemporary reflections and reinventions of the objects that were used in ancient Cypriot rituals, inspired by decorative elements from rhyton vessels and other libation objects.
Finished masks made during the residency. Photo: Theo Brooks.
Having made the objects, I had a period of reflection away from the studio to explore the optics of the pieces before returning to develop my ideas further.
Finessing one of the clear glass masks.
In particular, I focused on exploring these topics from a different viewpoint, with a concentration on the optics of the glass and its effects on patterns through refraction and reflection. I believed this would be a great way to tap into the idea of heritage, ancestral souls and relations, through the play between glass and light.
The outcomes are solid, clear glass sculptures that interact with geometric patterns in light boxes. The patterns are created through the abstraction of the Cypro-Minoan text, which are then activated by glass elements that were made in the hot shop at Teign Valley Glass (TVG). Some great effects were achieved.
The comprehensive facilities at Teign Valley Glass allow artists to carry out their design ideas.
I hope the sculptures will speak to the themes of rituals, dreams and celebrations through the influence of these ancient objects, which take care of the ‘spiritual’, lending themselves to the idea of community and collectiveness. I feel like the addition of a light source adds to these themes, suggesting some sort of ancestral presence.
Alongside the clear sculptures, I was able to try out some new work influenced by traditional folk instruments, focusing on the ‘bouzouki’, which belongs to the lute family. The dedicated time in the hot shop allowed me to test out new forms and designs.
Shaping one of the mask designs.
I shall definitely build on the two bodies of new work that I made during the residency. I feel confident to take these works further, both technically and conceptually. I 100 per cent recommend the residency.
It was a great experience getting to connect with other makers at TVG and work alongside them in the hot shop while developing new pieces. I am very thankful for the generosity of TVG and CGS for providing me with the opportunity.
Main feature image: Some of the clear glass masks Theo made on the residency, with the lightboxes featuring geometric patterns creating magical effects. Photos courtesy of the artist.
As Contemporary Glass Society members know, we bring opportunities to exhibit their work both physically and online and our latest online exhibition, ‘Bizarre and Surreal’ has generated the largest ever response, with 55 artists taking part.
“That’s bizarre!” “How surreal!” When we make these statements do we really know what they mean? To be bizarre can also be described as odd, strange, unusual, grotesque, or weird. In contrast surreal, in relation to an artwork, could mean that the elements in it are combined in a way that you would not normally expect, like having the disorientating, hallucinatory quality of a dream. This immediately conjures up images by Salvador Dali and the Surrealists.
One of those selected to take part is Krista Israel De Jager, whose piece ‘Last Flight Of The Bumblebee’ is shown above. Krista says it “depicts a surreal hybrid – a bumblebee’s body with a human head on a black glass ‘mirror’. It reflects our interconnection with nature and on the alarming decline of wild bee colonies, a quiet crisis threatening ecosystems and food security. The sculpture questions humanity’s impact on nature, climate change, and the effects of intensive farming.”
The piece incorporates flamework, kiln casting, glass fusing, mixed media glass, glassfibre, acrylic resin, silicone and gold pigment.
See how all 55 CGS glass artists responded to this theme via this link. There are all many styles and glass techniques. Work is for sale too, so please support our members with a purchase or commission.
This show continues online until 6 January 2026. If you’re a CGS member, keep an eye out for our future opportunities to exhibit online and in person.
It is with great sadness we report the loss of exceptional glass engraver Nancy Sutcliffe, who passed away on 23 September 2025 following a short battle with blood cancer.
Nancy Sutcliffe.
Nancy started her creative career with a degree in scientific and medical illustration. Having worked for a medical publisher and Charing Cross Hospital in London, she moved to rural Herefordshire in the 1990s. This was where her passion for glass work began, initially with sandblasting and then with drill engraving, giving her the great precision for which she became known.
She pushed the boundaries of engraved and gilded glass, combining stone wheel and diamond engraving with water gilding, silvering, tarnishing, painting, mirroring and embossing. She often enhanced her fine pieces with precious metals, saying, “I couldn’t resist a bit of gold leaf.”
Nancy’s abilities have been recognised internationally, at galleries and museums across Europe, Japan and the US. She was a frequent exhibitor in Contemporary Glass Society (CGS) exhibitions, as well as winning Best in Show at the International Festival of Glass in Stourbridge in 2024, plus many other awards.
She was also a renowned and generous teacher, sharing her knowledge through residencies and demonstrations in the UK and farther afield, at Bild-Werk Frauenau in Germany, the Boda Glass Factory in Sweden and at the Studio at Corning Museum of Glass in New York.
CGS will greatly miss Nancy, her incredible work, her fantastic sense of humour and the support she has given us over the years.
Nancy’s husband Dennis has set up a JustGiving page to raise funds for Cancer Research UK in Nancy’s memory. He is planning to donate notable pieces of her work to glass museums and similar venues so people can see what is possible and be inspired. So far, he has confirmed that her piece ‘Geode’ is going to Stourbridge Glass Museum and the Studio at Corning Museum of Glass in the US with take ‘Moths’.
‘Geode’ has been donated to Stourbridge Glass Museum.
In her family’s words, “We’ll all have our Nancys. She was a brilliant engraver with a very specific style, impishly witty, technically curious, aesthetically driven. She was funny and stylish and bright. She was a really good friend, considerate and caring and good company.”
‘Moths’ is being donated to The Studio at Corning Museum of Glass in the US.
To donate to Cancer Research UK in memory of Nancy, please visit the JustGiving page here.
Main image: This rhinoceros shows the painstaking precision of Nancy Sutcliffe’s distinctive engraved glass work.
Having far exceeded the original target of £50,000 needed to keep The World of Glass (TWOG) in St Helens open, this important venue promoting heritage and contemporary glass has confirmed that it will remain open and host the 2026 International Festival of Glass.
TWOG reports that its Crowdfunder supporters raised £27,000 in under three months, on top of which it received generous donations and support from community fundraisers, local businesses and grant funders, taking the total to £87,000.
TWOG stated, “We are breathing a collective sigh of relief – because now we can continue with our journey to secure the future of The World of Glass for good, and bring you exciting new exhibitions, engaging events and unforgettable experiences.
“We’re proud to remain a free museum for everyone, committed to sharing art and culture with everyone. Thanks to your support, our doors will remain open – and together, we can keep them that way.”
One of the highlights in TWOG’s future is The International Festival of Glass, including the British Glass Biennale, which will be hosted in St Helens for the first time, in partnership with the Glass Art Society (GAS), in August 2026.
“We are excited to be able to prepare for the festival next year and look forward to being able to welcome everyone and shine a light on St Helens’ rich glass history and celebrate the future of glass,” TWOG concluded.
Contemporary Glass Society (CGS) Chair Sarah Brown looks back on the many highlights of the joint symposium held in September.
Wow! What a brilliant time we had at ‘Glass in Wales’, the CGS and British Society of Master Glass Painters’ (BMSGP) symposium on 13 September 2025 at Aberystwyth Arts Centre.
First, I would like to thank the Aberystwyth Arts Centre, for kindly hosting us for the day, and to Linda Norris for organising the event, and the support of BMSGP, and the artists who spoke.
Linda Norris spoke of her practice – how she has been a painter for many, many years, and has expanded her approach to incorporate varied materials and techniques. She explained how she initially learned about glass from Steve Robinson, then developed her own way of working in glass with no formal education. This self-taught and experimental approach offered fun and freedom with no rules, or stipulated path.
She reflected on how glass is a great medium for her analysis and inquiry – as it slows her down. In the time it takes to set up a casting, or waiting for the kiln to fire, “you have time to think, to reflect,” she explained. This is unlike working with paint which can be fast and ever-developing, without the need to just wait.
Even with the notion of needing to slow down, the vast range of work she has created in glass and the numerous community-based projects she has completed certainly do not reflect this reduced pace! Working with Rachel Phillips on some incredible stained-glass projects, she has won both the Art and Poetry Prize, and The Warm Glass Prize for her piece Her House is Air. It was an inspiring talk, and I look forward to seeing where her work goes next!
Next, we had a series of Pecha Kucha’s – these invited makers and artists to present on their practice to the room, in a short space of time. Jacqui Fowler, Mel Montgomery-Johnson and Alison Stott all spoke of their love of working with glass, each having had a major shift within her practice in recent years. From starting over and discovering glass fairly recently, and finding confidence and joy in life, too, to deciding to put their own ideas and concepts first for a change. Talks focused on what glass meant to each artist, explored the relationship between science and glass, and on finding their own language within their work to collaborate and explore new directions.
Rebecca Bingham from BMSGP, spoke of all the things that the society does, the extensive library (which as a member you can access), the visits to extraordinary stained glass in a variety of locations, and the development and encouragement of emerging and established artists working in glass.
We then broke for lunch and explored the Arts Centre, visiting the ceramic collection where Linda Norris has a temporary display of her work called ‘ReMade’, which is a combination of glass and ceramics. We also viewed the ‘From Ceramics to Sound’ exhibition and enjoyed lots of chatting too!
In the afternoon we kicked off with a presentation by Verity Pulford, who shared her inspiring journey plotting the development of her work to date. She discussed how she has received funding, which is not always a smooth path, whilst acknowledging that with this often-unknown path come opportunities and great development.
She also spoke of her unease at being an artist: “I’m always striving to prove I’m good enough.” This was a common thread throughout the day’s talks, something that being a creative often stirs within us, namely the need to strive for better, the need to work on bigger projects, to get into bigger and better galleries. But thankfully within that unease Verity has not lost the need for finding joy in what she does. She comented, “the honesty of play keeps me so excited.” I think you can see this key element within her work, and it was so lovely to hear her describe her exploration as play, and how with that childlike excitement such development in her research can shine through.
Catrin Jones was our final speaker of the day, sharing her journey from the early days of working in architectural settings, to the modern day. She bought along some brilliant samples of her work and discussed the various processes adopted when working on a large scale. Challenges included working with the complexities of buildings that are still in a state of progress and being able to visualise and realise the end results before you can really see the space.
After her talk we went on to visit her most recent commission at The Leri, in Bronglas Hospital. Being able to visit a space like this was incredibly special. It is not often that you can hold a tour in a hospital, and hear about the process, and inspiration behind a new artwork. We would like to thank the nurses at the unit who made this possible.
Overall, it was a remarkably busy day, with so much to take in, and so much more that people wanted to immerse themselves in – we could have been there until midnight! So, I do hope this little synopsis demonstrates what a brilliant day we had, and I hope it inspires you to attend the next one!
Our next event will be at the Victoria and Albert Museum in London, on Friday 5 December 2025, where we will be hosting ‘Glass Narratives: An Artist’s Perspective’.
I look forward to you joining us there! More information and tickets via this link.
Image: Jacqui Fowler presenting at the Pecha Kucha. Photo: Sarah Brown.
The Glaziers’ Company Charity has launched its Annual Awards Scheme 2025/6 to support the training and development of artists and conservators working in the fields of architectural and stained glass. The various opportunities are outlined below.
Ashton Hill/Lever Awards
Work placement awards for emerging stained glass artists (Lever Award) and conservators (Ashton Hill Award)
Up to £6,000 to support a 12-week placement in up to four studios, plus a £300 Evelyn and George Gee tool allowance
Apply by 31 October 2025
Professional Development Awards
Up to £750 towards the costs of undertaking professional development activity
Can be used to support training, research and conference attendance
Apply by 31 October 2025
Business Development Awards
Up to £3,000 to help with setting up a new business or growing an existing business.
Can be used to support business development activities, equipment purchases or the cost of taking on a new trainee or apprentice.
The Worshipful Company of Glaziers and Painters of Glass dates back to the fourteenth century and is involved in charity and philanthropy through its Glaziers’ Company Charity.
Image credit: Sarah Shepherd, City of Glasgow College, Rita Griskontye.
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