The Glazenhuis museum and glass studio, based in Lommel, Belgium, is inviting experienced glassblowers to apply for a 10-week residency. There are two options available, one for a single glassblower and one for two glassblowers (or a glassblower and an assistant).
Each residency will include:
Research and development of artistic practice
The production of a limited series of saleable glass objects for the recently opened museum gallery
The creation of one artwork for the city’s renowned glass art collection
Maintenance of the studio
Support from a team of staff, freelancers and volunteers.
The residency times available are:
Period 1: 15 May-30 July 2023
Period 2: 31 July-8 October 2023
The application deadline is 12 April 2023.
The museum and glass studio are set for extensive renovation, starting at the end of 2023, so this is the last chance to apply for a residency before GlazenHuis closes for this work.
The solo residency (1 glassblower) comprises:
Access to hot and cold glass studio (+/-4 days hot glass studio per week)
Free accommodation on site (apartment for 2 people)
Full reimbursement of travel expenses (1 person)
3000 euros for daily expenses after receipt of invoice
Use of professional photos, which will be taken during the residency.
For the duo residency (2 glassblowers or glassblower with assistant), the successful applicants will have the same as the above, but with travel expenses for two people and a total of 4500 euros for daily expenses.
Announcement of the selected artists in residence will be made by 19 April 2023.
British-Cypriot glass maker Theo Brooks investigates identity through his glass art, which is inspired by studying the history of Cypriot archaeology, rituals and languages. Linda Banks finds out more.
What led you to start working with glass?
I first came into contact with hot glass at the University for the Creative Arts in Farnham, Surrey. I was shown around by the professor at the time and, as soon as I saw someone working with hot glass, I was mesmerised. Once I started working with it, I realised it was a combination of all the things I had been studying at the time and loved. I really enjoyed the physicality of working with hot glass, after playing competitive sports as a kid. It’s a magical material unlike any other.
‘Battuto Bull’ is 66cm high. Photo: Theo Brooks.
What glass techniques have you used and which do you prefer?
The glass techniques I work with are a combination of hot, cold and digital processes. The hot working techniques are a mixture of hot sculpting with an oxygen and propane torch and more traditional vessel making glass blowing techniques. Once the pieces are out of the kiln, the cold working begins! This takes the form of a variety of pattern- and texture-making processes through lathe cutting, sandblasting and engraving. I am keen on applying digital techniques with glass when I can, from plot cutting, water jet cutting or 3D printing.
‘Bull Murrini’ stands 42cm tall. Photo: Theo Brooks.
What is your creative approach? Do you draw your ideas out or dive straight in with the materials?
My ideas usually come from my research. Currently I read a lot about ancient Cypriot culture through archaeology papers from authors such as Jennifer Webb and Erin Averett. Archaeological sites and museum visits also offer a rich source of information. I have explored the collections of museums such as the Cyprus Archaeology Museum in Nicosia, the Cesnola Collection in the Metropolitan Museum of Art in New York and the Kelsey Museum of Archaeology in Michigan. These insights into Cypriot ancient cultures and the history of the island, combined with the aesthetics of the objects themselves, trigger the ideas. Then I try to bring these ideas into a contemporary setting. The idea manifests as rough sketches, which are then drawn out to measurement, callipered up and made. I don’t usually ‘make things on the fly’, as the process of hot sculpting requires the organisation of pre-made parts, a team of people, specific torches and equipment set up.
‘Geo Bird’ stands almost a metre tall and is inspired by historic artefacts. Photo: Rebekah Alviani .
What inspires your work?
Being British-Cypriot and growing up in London, my work explores identity and connecting back to my heritage, family and culture. I have always felt displaced from my Cypriot heritage.
My current body of work explores ritual objects and practices in ancient Cyprus. My focus is on researching artefacts from the Bronze Age. However I do dip into the Iron Age and Cypro-Archaic objects too, as I find them fascinating. The motifs of the bull and birds were popular on objects and the iconography held symbolic value in particular rituals. These objects had specific uses, from marking out ritual spaces to apotropaic functions.
Another theme that runs through my work stems from my ongoing investigations into the ancient indigenous languages of Cyprus. I explore communication through the imagery, symbolism and sculptural forms on ancient Cypriot ceramics. These languages, such as the Eteocypriot language and the Cypro-Minoan syllabary, are indecipherable today. The glyphs remain lost information, making me focus on the line markings for their aesthetics. I am inspired by these markings, abstracting the symbols further and running them across the surface of glass sculptures. Lately I have been transforming the 2D glyphs into 3D forms. My dream would be to make monolithic-sized sculptures of them.
The reinvention and celebration of these objects allows me to discover a part of my heritage that I have been removed from. I go back even further into the ancient practices to unknown and mysterious spaces. The activities that took place in the cult rituals are intriguing. They were often performed in multi-purpose spaces, which included metal forging and oxen sacrificing. These rituals are believed to have paid tribute to the ‘Ingot God’ or ‘Horned God’, and only high members of society could participate. A lot of the rituals involved masking ceremonies, where people would wear ceramic and bucranium masks. These masks allowed them to take on a persona to either become an intermediary with the god, or to be brought spiritually closer.
‘Mediatory’ is 80cm high and is an example of Theo’s ongoing fascination with the bull often represented in Cypriot history. Photo: Theo Brooks.
What message(s) do you want to convey through your art?
I intend my sculptures to be contemporary reflections of ancient Cypriot history, celebrating and promoting Cypriot arts and culture. As part of this facet of my work, I want to connect Cypriot glass makers around the world. I have created an Instagram page called @cypriot_glass_artists, where I have been reaching out to makers in different countries. I hope to spread the word further later this year through a demonstration I will be doing at the Glass Art Society conference [7-10 June 2023 in Detroit, USA], where I will be sculpting an ancient Cypriot artefact in glass.
An underlying theme that runs through my work is the effect of colonialism in Cyprus. This led to many ancient Cypriot objects ending up in museum collections around the world. Although not the main focus of my research, it can be hard to ignore when walking through vast collections of objects such as the Cesnola Collection in New York.
The Metropolitan Museum of Art holds the largest collection of Cypriot artefacts outside Cyprus. These were taken by Luigi Cesnola who, according to his reports, excavated 118 sites in Cyprus in the 1800s, amassing 35,000 archaeological artefacts. These objects are known as the ‘Cesnola Collection’. They were purchased by the Metropolitan Museum of Art in 1872 and Cesnola became the first director of the Museum soon after.
Following his death, part of the Cesnola Collection was dispersed to leading museums around the world, as well as several major American universities, such as Harvard, Stanford and the University of Michigan. Some of the objects in the collection are one-of-a-kind pieces and hold importance in the history of Cyprus. The way in which these objects were collected during the Ottoman Rule in Cyprus is controversial. It is said that a ship load of 6,000 objects was lost at sea during the journey to the US. Little information is given in the museum about how they were collected and came to the US, even though the Collection was a backbone of its works in its early days.
Theo loves the physicality of working with hot glass.
What is your favourite tool or piece of equipment and why?
Batisti engraving lathes, with a good set of diamond wheels, have to be among my favourite pieces of equipment to work with in the cold shop. I also love a coarse grit sandblaster, which allows you to you carve deeper and faster. In the hotshop, it has to be a custom pistol grip Nortel Midrange torch, which really allows you to work with glass in a unique way using different applications of the torch.
Do you have a favourite piece you have made? Why is it your favourite?
Usually it’s the next thing I’m excited to work on, but recently I have enjoyed working with mixed media with glass, particularly 3D printing and metal. There is something about the combination of finishes of the PLA [polylactic acid plastic filament] with satin glass that I like.
Some of the pieces Theo displayed at this year’s ‘Collect Open’ exhibition. Photo: Gideon Fisher.
Where do you show and sell your work?
The last couple of years I have shown work at Venice Glass Week in Italy, the Tacoma Museum of Glass for the Glass Art Society conference show in the US, the Glass Biennales in Bulgaria and the UK, the Craft Glass Creation awards in Heijan, China and a solo show at the River House Arts Gallery in Toledo, Ohio, in the US.
In the UK, I have just started showing work with Blowfish Glass Gallery in Stourbridge, and I have just been showing at Collect in Somerset House, London, as part of ‘Collect Open’.
Theo enjoys abstracting marks found on ancient Cypriot ceramics in his contemporary pieces. This is a detail of ‘Battuto Bull’. Photo: Theo Brooks.
What advice would you give to someone starting out on a career in glass?
Work hard and be kind! Glass is an international language and should be embraced. They make glass all over the world, so let it be a reason to travel and see all the amazing ways that it is being used/worked across the world.
Finishing setting up my first solo show at the River House Arts Gallery in the US was definitely a great feeling. Getting to enjoy the opening with my partner, the assistants that helped me make the work, mentors and friends was great. I hope to be able to have another solo show in the UK to share this kind of experience with people here.
An exhibition of Theo’s distinctive work. Photo: Theo Brooks.
Where is your glass practice heading next?
I have just moved back to the UK after three-and-a-half years in the US, so I am looking for the next thing. My main focus recently was finishing the installation for Collect Open, which I did as part of a Glass Tech/Tutor residency at UCA Farnham. Hopefully that will unfold further opportunities.
Is the global energy crisis affecting your practice?
I think that the global energy crisis is affecting everyone in the glass community and the way people are working. In my last role as the glass studio technician at the Tyler School of Art and Architecture in Philadelphia, we were really looking into ways to become more sustainable in the school and teaching setting. Assistant Professor in Glass Jessica Julius brought in people like Frederik Rombach, who works with waste glass, to do sustainability audits and think of creative ways to improve the way in which we work. I think it will take the efforts of the whole global glass community to address this for the future.
And finally…
Now that I am back in the UK, I would love to be more involved with the excellent opportunities that are available through CGS and participate in more shows and other events throughout the UK.
About the artist
Theo Brooks lathe cutting a pink mask to provide textural interest. This piece was made for the ‘Collect Open’ exhibition 2023. The finished piece is in a previous image above. Photo: Laura Quinn.
A British-Cypriot glass maker from London, UK, Theo Brooks studied glass at the University for the Creative Arts, Farnham, UK and gained his Masters in Fine Art from Bowling Green State University, Ohio, US.
He apprenticed in hot glass with Simon Moore, Smithbrook Glass Blowing Studio and Rothschild & Bickers Ltd, and studied glass cutting with Philip Baldwin and Monica Guggisberg, in Paris, France. Brooks has work in permanent collections and has exhibited internationally in Bulgaria, China, Czech Republic, Italy, Germany, USA and UK. He has also won scholarships to attended masterclasses at Penland School of Crafts, Corning Museum of Glass and the Toledo Museum of Glass. Most recently Brooks has been working as the glass technician at the Tyler School of Art and Architecture in Philadelphia, USA.
Main feature image: ‘Bird Faced Deities Set’ by Theo Brooks.
An exhibition of European glass engraving featuring the work of 45 glass artists opens on 19 March 2023 at the Gernheim Glassworks, part of the North-Rhine Westphalian Industrial Museum (LWL-Industriemuseum Glashütte Gernheim), in Germany.
Visitors to the Gernheim Glassworks can also watch the glassblowers producing glass pieces that are then refined by cutting and engraving in the coldworking studios.
The glassworks features a landmark glass cone that came about as a result of a visit to Stourbridge, UK, in 1820 by German businessmen. They were so impressed by the cone furnaces there that they went home and built one on the banks of the River Weser, adding a small village for the workers around it. It has functioned as a working furnace ever since.
The engraved glass exhibition, ‘Gravur on Tour: Gernheim 2023’, runs until 9 September 2023. There is an illustrated catalogue of work by members of the Glass Engraving Network from Finland, Estonia, Czechia, Germany, Austria, The Netherlands, Belgium, France, Romania, Ireland, Scotland and England. It costs €15.
There is also the opportunity to book a place on a wheel engraving course, run by Wilhelm Vernim, from 22-27 August 2023. There are spaces for 6-8 people and all abilities are welcome. It will be held in English and German and costs €650. More information via email to: glashuette-gernheim@lwl.org
LWL-Museum Gernheim Glassworks is at Gernheim 12, 32469 Petershagen, Germany. Find out more via the LWL website
A bursary is available for a craftsperson working in warm or cold glass, providing subsidised studio space at Cockpit in London.
The Cockpit Worshipful Company of Glass Sellers Bursary offers one year of business support and subsidised studio space at the Cockpit art space in London. The business support includes one-to-one coaching and business development workshops. There are also selling and promotional opportunities, including two annual Cockpit Open Studios events.
Applicants must have warm or cold glass as a major constituent of their work and be currently living in the UK and entitled to remain for the duration of the award, which begins in September 2023.
Bursary sponsor, the Worshipful Company of Glass Sellers, supports the promotion of glass as a material and has continuing contacts with the glass industry. The Company promotes knowledge of the properties of glass in schools and helps with education projects in the City of London and around the country. It also supports smaller businesses and artists working in glass through exhibitions, competitions and prizes.
Applications close on 11 April 2023. Find out more and apply via this link.
The current awardee is Lulu Harrison, whose work is pictured.
Devon’s Teign Valley Glass Studio (TVGS) is holding a social and glassmaking weekend on 9-11 June 2023. Everyone is welcome to come along and enjoy a weekend of fire, passion and fun!
If you are a glassblower or lampworker, you are invited to work in the studio and take part in the demonstrations. This will be a chance to watch amazing glass artists at work, meet old friends and make new ones, take part yourself, or simply watch and learn!
On Friday 9 June and Saturday 10 June there will be 2-hour solo demonstration slots at 10am-12 noon, 1-3pm and 3.30-5.30pm. The full studio space will be available and there will be assistance from the TVGS team and others.
On Saturday 10 June at 8pm there will be a makers’ dinner at the Old Pottery Restaurant on the site, with a guest speaker.
Then on Sunday 11 June, from 10am-7pm, there will be a lampworkers’ and hot glass workers’ ‘mash-up’, celebrating 50 years of the House of Marbles that is located on the site and which houses the glass and marble museum, as well as selling a wide range of marbles alongside toys and gifts. This mash-up will comprise a series of open/jam sessions to create one-of-a-kind marbles with the assistance of the TVGS team.
For more information or to take part, please contact Richard Glass via email: glass@teignvalleyglass.com
Teign Valley Glass Studio is based at the Old Pottery, Pottery Road, Bovey Tracey, Newton Abbot, Devon TQ13 9DS. Website: www.teignvalleyglass.com
The Carnival Glass Society will be holding an exhibition celebrating the beauty, creativity and ingenuity of this pressed iridised glass at Stourbridge Glass Museum in April 2023.
The exhibition celebrates 40 years of the Society and features an opening reception on 22 April from 6-9pm.
Visitors will be able to see around 300 items of iridescent, pressed glass, including rarities not often seen. The display starts with a look at the inspirations for carnival glass and the early years after its introduction in America in 1907. It continues with its spread across the world in the 1920s and 1930s, as glassmakers in Europe, Australia, India and South America started making pressed iridised glass with their own unique designs and styles.
The exhibition also shows later carnival glass made in the second part of the 20th century, when the interest of collectors spawned a revival, and beyond.
Underpinning the exhibition is a ‘Stourbridge Glass Success Story’, showing how pioneers from the area helped spark a craze for carnival glass, which spread the legacy of Stourbridge’s glass making creativity and expertise worldwide.
After a welcome drink and chance to browse the museum, the Carnival Glass Society team will present an overview of the glass and an insight into the exhibition, as well as taking visitors on a tour of the exhibits and describing some of the intriguing stories behind them.
To book tickets for the Opening Reception, click here.
The exhibition runs from 8 April to 5 November 2023.
Building on the success of our 25th Anniversary year, in 2023 the Contemporary Glass Society (CGS) is reaching out to more people than ever, to educate and inform and provide access to the remarkable experience that is the amazing material of glass.
From April to December, we are taking contemporary glass into the community through a series of Expanding Horizons Discovery Days, which are open to all and located in interesting and inspiring locations around the UK.
The programme for each day features four fascinating speakers, including both established artists and young, emerging makers. One speaker is an international artist who will join us virtually by Zoom. Speakers range from upcoming and developing talent such as Anthony Amoako Attah, Joshua Kerley and Joanna Manousis, to established artists such as David Reekie. International speakers include Galia Amsel, from New Zealand, and Kristiina Uslar, from Estonia. We aim to present the best of the world’s contemporary glass artists, to excite and inspire audiences.
At each venue, makers can take part in a ‘Show and Tell’ event, explaining the techniques and ideas behind a piece of their work. In addition, there will be demonstrations of the many techniques, old and new, that are used in the production of glass work.
The first Discovery Day is being held at De Montfort University in Leicester on 29 April.
Speakers are:
Bethany Wood – past Leicester student and founder of Blowfish Glass, a leading hybrid hot shop and exhibition space in Stourbridge
Joshua Kerley – one of the UK’s leading pate de verre artists
Anthony Amoako Attah – a Ghanaian student, who brings a whole new colour palette to kiln forming
Laura Donefer – lamp worker extraordinaire, who will be Zoomed to us from Canada.
The Discovery Days are sponsored by The Worshipful Company of Glass Sellers Charity Fund, with the Discovery Day at De Montfort University sponsored by Kilncare Ltd.
Further Discovery Day venues include the National Glass Centre, Sunderland (20 May 2023), the Hepworth Gallery, Wakefield (17 June 2023) and Oriel y Parc, St David’s, Wales (29 July 2023). Other locations for later in the year include the Victoria and Albert Museum in London, the World of Glass in St Helens, and Arts University Plymouth.
Every event is available to all – glass artists, glass collectors, students, young people and the public. We also hope to live-stream each Discovery Day.
More details will be published about each event in due course. For the latest information, contact Pam Reekie via admin@cgs.org.uk
Image: ‘Filter I’ by one of our international Discovery Day speakers, Kristiina Uslar.
The Prince’s Foundation School of Traditional Arts has announced two full scholarships for students from Commonwealth countries to undertake its MA in Traditional Arts.
The organisers are looking for students specialising in specific heritage crafts relevant to their own country who also have a wide interest in heritage, building crafts and architectural conservation. It is crucial that scholarship recipients have a desire to develop their skills to improve the historic built environment.
One of the areas that will be given priority is stained glass, including historic and decorative glass (e.g. painted, handblown and frosted glass).
Commonwealth citizens (excluding the UK) are eligible to apply. However British citizens and/or Commonwealth citizens already based in the UK are not eligible for this scholarship.
The scholarships are aimed at talented craftspeople and students from across the Commonwealth who would otherwise be unable to pursue further study of their craft or speciality skill. Consideration of financial need will be central to the selection of the recipients.
The scholarships aim to open up opportunities for successful careers in the heritage and conservation sectors to the successful candidates. They are made possible by the Commonwealth Heritage Forum via generous funding from the Hamish Ogston Foundation.
The scholarships will cover: overseas course fees; a monthly stipend to cover living expenses; accommodation fees in student accommodation in London; return air travel from home country to the UK; and visa costs, including the healthcare surcharge.
Priority will be given to those seeking to advance their knowledge, career, and sector leadership in the following fields:
Stonemasonry (including terracotta and carving in various stone types)
Carpentry and joinery (including carving, inlaying and parquetry)
Exterior and interior painting and decorating (including limewash, marbling, graining, traditional colours and finishes)
Gilding (on gesso and paper)
External and internal plastering (including stucco, lime renders and scagliola work)
Architectural ironwork
Stained glass, including historic and decorative glass (e.g. painted, handblown and frosted glass)
Tiling, mosaics, and ceramics as related to the built environment
Skills relevant to your country/region’s needs, and within the scope of the Commonwealth Heritage Forum and The Prince’s Foundation School of Traditional Arts.
The course runs from September 2023 to July 2025 and the deadline for applications is Friday 28 April 2023.
For further information, including a detailed list of all requirements and the application process, visit the Prince’s Foundation website.
Angela Thwaites is known for her cast glass and likes to create pieces that draw the viewer in to take a second look. Her most recent work is moving smaller scale, but with no less impact. Linda Banks finds out more.
What led you to start working with glass?
Translucency, colour and light.
What glass techniques have you used and which do you prefer?
I was already working with hand-built ceramics, so it was a relatively easy step to take into kiln-forming techniques. Casting and pate de verre feel particularly empathic, as form is key to everything I make and these techniques offer the greatest range of formal possibilities with glass.
‘Ring Things’. Photo: I Latviunaite.
What is your creative approach? Do you draw your ideas out or dive straight in with the materials?
All of these plus more! I was taught in a very linear way, so some of that is there as a basis, but, the more you make, the more you can dive in and go. I don’t usually following a linear path now, so I might take a mould from a found object or a little clay or plasticine model I’ve made. I use all and any materials to rough out an idea.
I love drawing, too, in its own right. I draw before and after, so I can scope out what needs developing further.
I’m also working digitally to model shapes for 3D printing. Digital technology gives options that wouldn’t be possible to make by hand alone.
I draw on paper before I start with the 3D software, so I have a sense of where I’m going with it. I don’t think in numbers, so I don’t work mathematically. I use the Rhino construction plane like an on-screen sketchbook page and then choose one or two of the models I’ve created to work up for 3D printing before casting in glass.
‘Croissanty Catarpillar’. Photo: D Lawson.
What inspires your work?
Everyday things and experiences, odd, humorous and awkward things, as well as pleasing shapes. Something I see out of the corner of my eye, which could be a building or something growing or discarded. Something I read or hear, fragments, shadows patterns, movements – more or less anything inspires me.
‘Roker Pendant’. Photo: D Lawson.
What message(s) do you want to convey through your art?
Look! Look again!
‘Appleocalypse’. Photo: I Latviunaite.
What is your favourite tool or piece of equipment and why?
My hands. They’re an amazing piece of engineering, so flexible and multipurpose.
‘After the Fire’. Photo: D Lawson.
Do you have a favourite piece you have made? Why is it your favourite?
I have a couple of favourites. One is from my student days, it’s a bit damaged but still holds good and embodies most of the qualities I still hold dear: mass and space, tonal variation in colour. It’s become a kind of talisman.
Where do you show and sell your work?
I show in a range of different contexts. I’ve had work in a couple of the CGS exhibitions in the last year, plus I’m a member of the Contemporary Applied Arts (CAA) in London, A small group of pieces is on its way back from a museum in the US. I also take part in artist-curated and organised exhibitions.
‘Worlds within Worlds’ – Angela Thwaites’ research showcase at the National Glass Centre, Sunderland in 2016. Photo: Dave Lawson.
You also share your knowledge through teaching. What advice would you give to someone starting out on a career in glass?
It may well not be a quick fix but if it’s what you want then keep going and you will get where you want to be, eventually.
‘Vessel Line Up’. Photo: D Lawson.
Do you have a career highlight?
Yes – but there’s still time for more! Being selected for ‘New Glass Now!’ at the Corning Museum of Glass in the US in 2019 was a biggy for me.
‘Rock Lobster’ variations: 3D print; plaster mould; sand mould; poured glass. These were made during the ‘New Footprints in Glass’ Masterclass at Pilchuck Glass School in the US in 2018.
Where is your glass practice heading next?
Going forward, I’ll be involved in more collaborations and working across a broader range of media.
Is the global energy crisis affecting your practice?
Of course, it must, otherwise nothing will change. I’m working much smaller – ‘miniature monumental’, as I describe it. I am taking a thoughtful approach, reusing as much material and resource as possible, from glass to yogurt pots to rain water.
Angela Thwaites making the piece ‘Hortoculus’. Photo: R Taylor.
About the artist
Based in South London, Angela Thwaites’ practice explores glass through making, writing, education and research.
International exhibitions include ‘New Glass Now!’ (2019) in the US, ‘NGC21’ (2019) at the National Glass Centre, Sunderland, UK; ‘British Glass Biennale’ (2017), Stourbridge, UK, and ‘Hsinchu City International Glass Festival’ (2014), Taiwan.
Publications include ‘Mixing With The Best’ (Royal College of Art, 2002) and ‘Mould Making for Glass’ (Bloomsbury, 2011).
Find out more about Angela via her website or follow her on Instagram: @angelamthwaites
Main feature image: ‘Always Coming Home’ by Angela Thwaites. Photo: D Williamson.
A hybrid book launch and glass exhibition with live demonstrations is taking place in Stourbridge, West Midlands, opening on 25 March 2023.
Glass artist and author Catherine Dunstan has teamed up with glass artist and founder of Blowfish Glass, Bethany Wood to present the event.
The new book, Creative and Professional Development for Glass Artists, by Catherine Dunstan, will be released on the first day of the event. It is a practical guide for glass artists looking to find their creative voice and plan their journey in the world of glass. It features insights from numerous glass artists and industry professionals, including contributions from Tamsin Abbott, Simon Alderson, Anthony Amoako Attah, Juliet Forrest, Katherine Huskie, Flora Jamieson, Julie Light, Verity Pulford, Laura Quinn, Elliot Walker and Bethany Wood.
In celebration of the book launch, an exhibition will launch simultaneously at Crystal Mile Contemporary Gallery, owned by Bethany Wood, at the Red House Glass Cone in Stourbridge.
The ‘Process’ exhibition will be a unique and exciting opportunity to look into the creative minds of the 12 artists featured in the book. Sketchbooks and technical drawings will be displayed alongside test pieces, works in progress and more established pieces.
The book launch and ‘Process’ exhibition opening will take place on 25 March 2023, from 10:30am-9pm. There will be live demonstrations by professional glassblowers to watch through the day.
The exhibition takes place at Unit 15, Red House Glass Cone, High Street, Wordsley, Stourbridge, West Midlands DY8 4AZ, UK, and will run until 15 April. Specific dates and opening times will be listed on the Blowfish Glass website.
The launch day is free to attend but booking is required. Book via this link.
In addition, over the course of the exhibition, online talks and panel discussions on themes relating to creative and professional development will be run in a virtual event called ‘Process Online’. There will be a small fee to attend these events and tickets can be booked on Catherine Dunstan’s website via this link.
Creative and Professional Development for Glass Artists is published by Gather Books, a Bristol-based small press with a focus on craft-themed books. Pre-order a print copy or e-book version here.
Image: Detail of ‘Process’ exhibition poster, showing sculpture by glass artist Elliot Walker, photographed by Simon Bruntnell.
This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
