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Producing glass perfection for super-rich clients

Daedalian Glass Studios creates large-scale, decorative glass installations, using an array of glass techniques, primarily for the super-prime residential, five-star hospitality, and superyacht sectors. Established in 1986 by Davia Walmsley, the business is now run by her son, Joe Walmsley. Find out more about this studio, which handles everything from design to installation for its exacting clients, in this interview with Joe.

Joe Walmsley hosting a professional development session.


You almost grew up in the glass studio. What is the first project you remember working on and what tasks did you help with in those early days?

There was a project for a bar called ‘Lawdy, Miss Clawdy’ (named after the Elvis Presley song) in our local town, Poulton-Le-Fylde, that I first helped with in the 1990s. It was a huge, torus-shaped skylight, like an elongated circle, made from leaded lights with integrated steel bars for structural stability (see main feature image). The studios were (and are) next door to my parents’ house, so in my teens I would go to see them after school. This commission was a large project for the studios at that point, so my mum would not always finish at 5pm. I would help her by passing her tools and the sheets of glass she needed, then later I helped with the finishing – the blacking polish and cleaning the glass.

The skylight for this bar was the first project Joe assisted on.


Your time is mainly taken up by the operations side of the business these days, but you occasionally help in the glass studio. What’s your favourite glass working technique?

It must be kiln cast lead-crystal glass. It is such a versatile process that can bring very intricate and ornate concepts into reality. We have had some amazing cast glass commissions in the past few years – custom wall lights, decorative inlaid marquetry panels, floor-to-ceiling decorative glazing, and cast architectural mouldings, like skirting boards, dado rails, sconces, and even entire fireplaces!

Unfortunately I cannot say too much about many of these projects as most of our casting work is bespoke, one-off pieces under strict non-disclosure agreements (NDAs). If CGS members wish to see these pieces, though, we are currently advertising for a studio technician job!

Joe (far right) helping the studio team move a casting mould.


Between 2006 and 2012 you went to work in corporate finance in the City of London. What lessons from this experience have you applied to the running of a glass studio?

Of course, working in the City provided me with a strong understanding of how to structure the business financially, in a way that will best facilitate the continuation of its natural growth ark.

In the past five years we have implemented a significant investment programme in the studio facilities. We built a whole new studio area that expanded our space, part of which was used to house a new, automated sandblasting machine. Before this we only had a hand-held sandblaster. We still use this to achieve very fine, intricate details. However, the automated sandblaster allows us to put a flat, even sandblast across panels, without having to have a skilled technician there. It also allows us to do a gradient sandblast across panels, which is almost impossible to do by hand.

Next, we invested in a purpose-built sandblasting/gilding studio. Prior to this we had to outsource some of our silvering, which was problematic, in terms of the extra time required for the process, managing the quality control, and managing project costs.

Multi-depth and multi-sided hand-etching of the London skyline.


Since your return, and subsequently taking on the Managing Director role in 2017, what do you consider to be your greatest achievement?

Well, I have just mentioned the investment programme. These investments have given Daedalian Glass Studios the machinery and space to continue growth. This growth is not a new trajectory for the studios though; it was happening under the guidance of my parents, Davia and Chris, for over 30 years before I took over as MD. Davia managed the studio side and Chris managed the installations and office side. They still offer their assistance in these departments, and I would say my greatest achievement as MD is to continue their legacy and hard work.

Do you have any future investment plans?

There are always future plans! If you don’t keep moving forward, you stagnate. Our unique selling point is that we offer such a range of glass working techniques on-site. One of the few things we don’t have is a furnace to work with hot glass. It is also the area of glass working my mum first did. She had a job with the Venetian glass blowers prior to founding her own studio; this is actually the job that brought her to live in the North-West.  I would like us to offer glass blowing and also hot pour casting.

How do you maintain quality control in an industry dominated by terms such as ‘industry standard deviations and allowances’?

You just need to be clear from the outset when sourcing raw materials. We explain who we are and the level of quality that our clients require. If they cannot match that quality then we source a supplier who can. If this is not available, we look to bring the process in house.

For things like float glass panels, obviously we cannot feasibly bring a glass production plant in-house. However, if the industry standard is to accept some minor surface level scratches, then we can hand-polish the glass to remove these.  It is time consuming, but it is important to maintain standards.

Your main focus, and biggest commissions, are in the super-prime residential sector.  Do you see more new markets opening up in the future, and what does the future hold for Daedalian?

Daedalian Glass Studios has changed the primary market it serves a number of times during its history. Originally it was an outlet for Davia to sell her private commissions. Then, in the early growth years, the majority of work came from commissions in the pub trade, such as traditional style windows and partition screens in etched and stained glass. There was also a period of focus on ecclesiastical work. Nowadays, the focus is on the super-prime residential sector.

In recent years we have been gathering momentum in the superyacht industry. We have done some interesting projects in that area. Again, these projects are almost always bound by NDA’s so we cannot feature them on our website.

Looking more long-term, we are already at the advent of automated cars and this offers interesting opportunities.  In theory, should all vehicles on the road become automated, there should be no crashes. Then materials such as glass, which are highly regulated at present because of safety issues, would become less regulated. This would open up the bespoke car interiors market to companies like ours. There are already some concept cars touching on this in their interiors.

Joe and Chris Walmsley conducting a site inspection at a Royal Palace in Saudi Arabia.


It has been an unstable few years. First Brexit, then the coronavirus, and now the war in Ukraine. How have these events affected the studios?

We were lucky when COVID-19 first emerged as we were already in the process of moving all our IT over to cloud-based systems. This switch was instigated to allow our teams, such as the business development and installations people, to access our servers when meeting clients or on-site, and it allowed all our office staff to work from home during the pandemic.

Another bit of good fortune was that we had a large project ongoing in London when the first lockdown began. As active construction sites were exempt under certain conditions, and we were providing the external glazing to secure the building, we were allowed to keep a limited team active.

Over the past few years, for whatever reason, we have seen volatile markets. At times, we have had to increase deposit payments to secure orders for raw material imports. This ensures we get them at the cost we have allowed for in the quote, rather than gambling.

With the war in Ukraine, and sanctions against Russia and its citizens, we have had a few projects either put on hold or cancelled completely, both from Russian and Ukrainian clients. We have been so busy in the studio recently, though, so we have easily filled any gaps in the production schedule.

Finally, what has been your favourite Daedalian Glass Studios project?

We worked on a project in Highgate, North London, where the brief was to create a series of bespoke, cast lead crystal lights atop Corinthian column capitals to sit around a subterranean swimming pool. They were interesting as they were clad around existing structural columns and needed to be designed in such a way that they could be safely deconstructed to change a lightbulb.

Cast lead crystal light fittings.

It was the first project we did that used 3D printing to mock up the exact shapes required. Also, the Chihuly Studio created work for the same area. It is a massive compliment to see our work commissioned and placed alongside other artists we greatly respect, such as that of Dale Chihuly.

One of the lead crystal Corinthian column capitals designed to sit around a subterranean swimming pool.


More about Daedalian Glass Studios

The Daedalian Glass Studios provides a wide array of glass working techniques, providing large-scale glass commissions, and a full-service offering, comprising design, glass studio and installations teams.

Glass working techniques include:

  • Etched glass – automated and hand-held sandblasting, as well as hand-drilled glass
  • Stained glass and leaded lights
  • Laminated glass – including interlayers, such as fabrics, metal mesh, wood and stone veneers, leaf skeletons, paper, and digital films.
  • Silvered and gilded glass – metal leaf, spray silvered, verre églomisé, hand antiqued
  • Back-painted glass
  • Warm glass – kiln formed, kiln slumped, kiln fused (tack and full fusing), and kiln cast.

Managing Director Joe Walmsley focuses on the operational side of the business, but lends his talents to help the glass studios, conduct site surveys, or work with the installations team.

Visit the Daedalian Glass Studios website here.

Main feature image: Joe first helped out on a large skylight project for a bar called ‘Lawdy, Miss Clawdy’.

Making a Spiritual Connection

Siobhan Allen enjoys making geometric mosaic artworks from mouth-blown glass, which she feels are an expression of the sacred patterns found in all life. Linda Banks finds out more about her and her work.

What led you to start working with glass?

It was a hobby at first. I was working as a bodywork therapist in London and a friend who taught at the Prince’s School of Traditional Art taught me how to cut glass in his lunch break. I was very inspired by the art coming out of that school and visited him there often. I knew I wanted to work with colour and was fascinated by light streaming through coloured glass and the sense of wonder it gave me.

At the same time I started exploring traditional mosaics in evening classes as I really enjoyed making patterns and textures with small tesserae. So I spent a while oscillating between traditional mosaic and traditional leadlight windows.

Each piece of glass is painstakingly cut to create the detailed pattern.

What glass techniques have you used and why do you prefer mosaic?

As mentioned, there was a period where I explored traditional mosaic and traditional leadlight at the same time. Then I discovered an artist in the US who combined the two and, once I explored mosaic with stained glass on a clear substrate, I found a combination of crafts that seemed to offer everything I was looking for.

With glass mosaic I like that you can create complex patterns without the need to use lead or time-consuming copper foil. Instead, I use the grout in the spaces, which makes it a faster method and, in the case of lead, less toxic. I use a UV stable glue to fix the mosaic pieces down. The overall finished piece can still be every bit as bold and bright and beautiful as a leaded window.

I have explored fused glass techniques too and do fuse my substrates for my smaller pieces but, overall, I prefer the look of cold glass.

The rainbow of coloured glass pieces is held in place with clear glue and grouted to fill in the gaps.

A lot of your pieces are highly complicated, geometric designs. Why are you drawn to this style?

I have always been drawn to symbols that represent something greater than the words we use to describe it.

For me, those beautiful geometric patterns, which are found in almost every culture, are an expression of the sacred patterns in all of life.

However, despite having taken several courses in traditional geometric drawing, I am not a natural. I am therefore very grateful for polar graph paper to draw some of my patterns out.

‘Sacral Fire’ is a fine example of Siobhan’s skill and patience.

What is your creative approach? Do you draw your ideas out or dive straight in with the materials?

These days I mostly make glass-on-glass applique. For this I always choose or draw a pattern first that sits underneath a clear substrate. Then I decide on the colour scheme. Sometimes this evolves over the course of making the piece. In recent years I have been using multi-coloured glass and often make a piece from a section of that glass, as it shows each colour fading into the next.

Adding daylight brings the rich colours of the stained glass mosaic to life.

What inspires your work?

I tend to be inspired by what moves me viscerally and emotionally, rather than by clever ideas and concepts. Light shining directly or indirectly through stained glass gives me goosebumps. Many of the colours, shapes and patterns in the natural world amaze me and I love artforms that have vibrant and ethereal colour combinations.

What message(s) do you want to convey through your art?

I try to convey something that I sense and glimpse from time to time, which is the liminal space between our world and the next. I feel we are in this beautiful world of the five senses and simultaneously we are spiritual beings, connected to other dimensions, and it’s possible to sense the two together. I hope my art somehow points to that and I get quite excited when I feel I’ve captured that quality in a photograph. I do spend a long time on the photography side of my art as it’s the primary way most people will experience it.

‘Arch’ captures the beauty of mouth-blown glass against the warmth of nature behind.

What is your favourite tool or piece of equipment and why?

Probably my little Paragon kiln, which I bought with part of the prize money I won for my piece ‘Heart Flower’ in 2015 (see main feature image). This was a combined competition held by Creative Glass Guild and Spectrum Stained Glass and it was a career highlight when I won the ‘Best in Show’ and ‘Best Stained Glass Project’. This kiln enables me to make all the fused hearts and droplet bases, as well as all the beads and cabochons I include in my work.

Do you have a favourite piece you have made? Why is it your favourite?

Probably the piece ‘Renewal’ is my favourite. It started out as quite a large, complex mandala at the centre radiating out. When It was finished, as I was photographing it against a window, it suddenly fell and smashed into several pieces.

The broken piece that Siobhan incorporated into the new design called ‘Renewal’.

With the largest, broken shard, I began this new piece, which has since become one of my most popular windows of all time. I love what it symbolises (“Nothing is created and nothing is destroyed, but everything is transformed”) and I have it hanging in my studio.

‘Renewal’ is the artwork that resulted from the damaged mandala.

Where do you show and sell your work?

I don’t tend to show my work as it sells quite quickly through my website.

What advice would you give to someone starting out on a career in glass?

Go for it, it’s a beautiful medium. It’s very difficult to make a living from it, but if it’s where your passion is, follow your heart.

Be patient with yourself. If you start out being inspired by other artists and copying their style at first, that’s fine. Many of us do that to begin with. But then try to bring in more of yourself that is unique and different, and develop your own ideas.

Where is your glass practice heading next?

I have really enjoyed collaborating with my partner Tony, as he makes the reclaimed timber sculpture frames that hold my glass mosaics. I hope we can explore that combination more.

I also hope to make more pieces for outside as, for me, the interplay between the colours and shapes of nature and the luminous vibrant glass hint at that liminal space that draws me.

Is the global energy crisis affecting your practice?

Yes definitely. All the materials are going up in price but, in particular, my favourite material is English Antique mouth-blown, hand-made stained glass. This has increased in price by 50% in just one year.

And finally…

I feel very lucky to be able to work in this medium and hope I can continue in it for the long term. I am also grateful to my customers and online followers, who regularly give me a boost when I receive their feedback. It’s a privilege to have that audience.

Siobhan Allen at work on one of her intricate, geometric designs.

About the artist

Siobhan Allen lives in North Devon and works full-time on her glass creations from a cabin studio in her garden.

She comes from a creative home. Her mum was a photographer and taught at Camberwell School of Art, and the creative arts were always encouraged in her as a child.

However, though she completed an Art Foundation course in her early 20s, it took another 10 years before she began practising her craft.

She draws inspiration from the geometry in nature and the sacred art of different cultures and religions.

Having lived a full and rich life of many ups and downs, Siobhan tries to bring her lived experience, curiosity and wonderment into her daily life and art.

Find out more via her website.

Main feature image: Detail of ‘Heart Flower’ that won a competition in 2015.

Shattered Glass of Beirut exhibition at British Museum

Many people will remember hearing about the explosion at the port of Beirut in August 2020, when a massive stockpile of ammonium nitrate exploded.

The blast killed at least 218 people, injured 7,000 and displaced 300,000, as well as causing billions of pounds of damage.

What is less well known is that a case displaying 74 ancient glass vessels at the Archaeological Museum at the American University of Beirut (AUB) was destroyed by the explosion. The museum was just over 3km from the epicentre.

The shards of ancient glass were mixed with those from the case and surrounding windows, seemingly inextricable.

“The story of the restoration of eight of these vessels is a powerful expression of the grief, solidarity and recovery of the people of Lebanon,” states the British Museum.

In a collaboration between the AUB and the British Museum, these shattered vessels were transported to the Museum’s world-class conservation centre and put together again, piece by piece.

Staff from the Archaeological Museum worked with British Museum conservators for three months. The result is that the eight vessels, which are mainly Roman, with a few Byzantine and Islamic examples, are now whole again.

The fragments were carefully and laboriously sorted so that each vessel could be sensitively and painstakingly reconstructed. The team deliberately made the joins between the shards visible and, though some of the missing areas were filled to support the surrounding fragments, others were left unfilled.

The British Museum adds, “These visible scars and missing fragments bear witness to the explosion and the determination of the people of Lebanon to recover.

“Ranging from the first to the ninth century, the bowls, flask, beaker, jug and cup in this display collectively speak of the rich cultural heritage of the wider region – and they now tell new stories through the scars they bear.”

After being on display at the British Museum, the vessels will be returned to Beirut.

The ‘Shattered glass of Beirut’ exhibition is supported by The Asahi Shimbun Japanese newspaper.

It is on until 23 October 2022 in Room 3 of the British Museum, Great Russell Street, London WC1B 3DG, UK.

The museum is open 10am to 5pm daily.

For more information visit the British Museum website here.

Image: Two of the glass vessels that have been conserved in the collaborative restoration project, telling a poignant story.

BSMGP Discussion Day on how to establish a stained glass studio

In its upcoming in-person Discussion Day on 14 October 2022, the British Society of Master Glass Painters (BSMGP) will examine creativity and best practice in stained glass.

Four expert speakers will cover topics including establishing a studio and working to commission in churches, public and private buildings.

The speakers include Alfred Fisher MBE, who will share his wealth of experience, Helen Robinson, who will talk about establishing her studio and teaching, Andrew Taylor, who will discuss creativity, and Benjamin Finn who will talk about his window in Southwark Cathedral Library.

Caroline Swash will introduce the day, which runs from 10.30am until 4pm. There will be opportunity for discussion and questions.

The Discussion Day is open to everyone with an interest in stained glass. It is a chance to see some fascinating work, and hear directly from the speakers about their practice. There is an opportunity to network with other practitioners.

Tea and coffee are provided, but not lunch. However, there are many places to eat in nearby Borough Market.

The BSMGP is grateful to the Worshipful Company of Glaziers for hosting the event and to Malvern Arts Press for sponsoring the day.

The event will be held at Glaziers Hall, 9 Montague Close, London Bridge, London

SE1 9DD, UK on Friday 14 October from 10.30am-4.00pm.

The cost is £29.75 for members and £35 for non-members. Places are limited.

Book via this link.

Glassmakers: Your chance to appear on Sky Arts

The Master Crafters TV series is looking for skilled craftspeople to take part in Series 2.

Master Crafters is shown on Sky Arts and showcases heritage crafts, including glasswork, metalwork and woodwork.

The former HRH Prince Charles, now King Charles III, who is Heritage Crafts President, lent his name to the first series, entitled The Prince’s Master Crafters: The Next Generation.

The aim is to spotlight Britain’s rich heritage of traditional crafts, particularly those that are more endangered.

Series 1 featured a selection of top amateur craftspeople who took on a variety of crafting challenges before each of them created a final showcase piece to present to His Royal Highness in person. Series 2 is working closely with the Prince’s Foundation again.

Applicants wanting to show off their glass talent on the small screen must be over 18 and working or studying in the field. Both professionals and students are welcome to apply.

Check out the previous series on Sky Arts here.

To find out more, email your name, contact number and a brief description of your craft experience to producers Spun Gold TV via: crafts@spungoldtv.com

International Festival of Glass draws to a close

Thousands of visitors have attended the 2022 International Festival of Glass exhibitions and events over the last five weeks, but the British Glass Biennale, the International Bead Biennale and ‘Expanding Horizons’ must end on 1 October at 4pm.

The organisers invite everyone to attend the closing ceremony, which starts at 3pm with live music and refreshments, at The Glasshouse Arts & Heritage Centre in Stourbridge, West Midlands.

The closing event will see the announcement of the remaining three award winners. Warm Glass have sponsored The People’s Prize, for which visitors have been casting their votes for their favourite piece throughout the exhibition.

The Worshipful Company of Glass Sellers have sponsored The Young Collector’s Award. To ignite a passion for collecting glass from a young age, the winner will receive a glass sculpture, Robbie the Raven, blown by Stewart Hearn.

Finally, the winner of The Guild of Glass Engravers Award will be selected from pieces in the exhibition that use the technique of glass engraving.

The inaugural International Bead Biennale, a sister exhibition to the British Glass Biennale this year, shone a light on miniature pieces of glass art, and proved a popular addition to the Festival line up.

The Festival also curated its first major international exhibition, ‘Expanding Horizons’, which was an invitational exhibition, displaying the exquisite glass artwork of 34 artists from China, Japan and Korea, many of whom were showing for the first time in the UK. This offered a contrasting aesthetic to the British Glass Biennale.

Three of the Festival exhibitions continue into October: ‘the Contemporary Glass Society at 25: Past, Present, the Future’ continues at Stourbridge Glass Museum until 30 October 2022. Glass artwork has been selected to showcase a range of techniques from the past 25 years from 25 of the UK’s greatest glass artists, to celebrate the 25th anniversary of the organisation.

Additionally, there is ‘Collaborations’ at Wolverhampton Art Gallery until 16 October, as well as ‘Expanding Horizons #2: China to Wolverhampton’ at the MC Gallery until 20 October 2022.

Find out more on the International Festival of Glass website.

Image: A view of the International Festival of Glass 2022. Image: John Plant Imagery.

Three stained glass talks online

Three online talks on different aspects of stained glass are being presented by Ely Cathedral’s Stained Glass Museum this Autumn.

On 12 October at 7pm, glass artist Pinkie Maclure, who was recently featured in the CGS Glass Network digital magazine (read that interview here), will speak about her beautiful stained glass creations and her inspirations. Book for this lecture here.

A week later, on 19 October at 7pm, there will be a presentation entitled ‘Collaborative Creators of the American Opalescent’, by Virginia Raguin, Distinguished Professor of Humanities, Emeritus, College of the Holy Cross. The demand for opalescent stained glass in the 1880s and 1890s reflected the taste for greater opulence in both domestic and public spaces. This talk will reveal more about some of the main protagonists working in the US at this time. Book here.

Early the next month, on 2 November at 7pm, there will be a talk about patterns for clear, leaded windows, called ‘Masterpieces and pattern books of leaded panels: the Ulrix manuscript’. This will be held by Liesbeth Langouche, who will draw attention to clear windows and away from the focus on coloured ones. Her lecture will feature an antique manuscript sold at auction in Brussels in 2019 that was described as ‘a pattern book for clear, leaded windows, probably originating from the city of Tongeren (located in the current Belgium) and dating from the late 17th, early 18th century’. Book here.

Each talk will be hosted online via Zoom and lasts about 45 minutes. For anyone who cannot watch live, the recording will be available to ticket holders the next day.

Tickets are available now and priced at £6.50 for Friends of the Museum and £7.50 for others.

Note all start times are UK times.

For general information about virtual and in-person events at The Stained Glass Museum, based at Ely Cathedral, Ely, CB7 4DL, UK, have a look at the website.

Image: Part of the stained glass display at The Stained Glass Museum.

Submit glass sculpture for Sussex Prairie Garden exhibition

Glass artists are invited to submit their outdoor sculpture for ‘Expressions of Nature’, a mixed media exhibition at Sussex Prairie Garden 2023.

The show will be curated by The Glass Garden and exhibition dates are 1 June-15 October 2023. Submitted works should be thought provoking, fun, and engaging for a family audience.

The exhibition aims to provide an uplifting and memorable experience for the 28,000 visitors who come to this RHS-affiliated garden in West Sussex, England, between 1 June and 15 October 2023.

The sculptures submitted for consideration must be available to exhibit and sell during this time.

If a sculpture sells, a replacement will be accepted. If artists do not have a suitable replacement, a piece will be selected from a waiting list of artists.

Artists will be responsible for the delivery, installation, and removal of their work. If a piece is sold during the exhibition period, the artist will be responsible for delivering to the customer.

Artists must show proof of public liability insurance and their work must be weatherproof.

The venue will take 40% of sales, so the price of work must take this into account.

The registration fee is £25 for up to three works. The exhibition fee per selected artist will be £200 (Earlybird – before 11 November 2022) or £240 (by the final deadline of 1 March 2023).

Full details and application via this link.

For further information contact Gabrielle Argent, email: mailto:gabrielle@gmppr.com

Image: A view of Sussex Prairie Garden.

Craft Scotland conference 2022: The Power of Glass

Craft Scotland invites all glass artists and enthusiasts, curators and researchers, to attend its in-person and online ‘The Power of Glass’ conference this November 2022.

On 17 and 18 November 2022 the conference will explore the importance of art glass as a form of social and political commentary. Glass artists, makers, and designers today are employing this visceral medium to explore complex issues and narratives that are pertinent to contemporary society.

The conference programme is guest curated by Dr Jessamy Kelly, Lecturer in Glass at Edinburgh College of Art (ECA), and Sarah Rothwell, Senior Curator of Modern & Contemporary Design at National Museums Scotland.

On day one (17 November, 2-5pm) Chris day will present a glassblowing demonstration and social event at ECA. This is now sold out, but you can register to join the waiting list via Eventbrite. More information here. You can also watch the demonstration online via a live stream on the ECA’s Facebook channel.

As well as the demonstration, Chris Day will discuss and investigate the treatment of black people in Britain and the US. Much of his research has focused on the history of the slave trade in the 18th century and the Civil Rights Movement.

Day two (18 November, 9.30am-5.30pm) is a symposium at the National Museum of Scotland, taking place both in person and online.

The symposium will explore identity, social and political thought within art glass.

This symposium brings together artists, makers, and researchers to share knowledge, inspire and educate on topics within art glass that range from diversity, identity, representation, sustainability, and environmental concerns.

Session 1: Equality, Diversity, and Identity explored through Glass Art, with talks by Jeff Zimmer, Chris Day, and Karen Donnellan with Suzanne Peck.

Session 2: Climate Action, Responsible Consumption, and Sustainability in Glass Art and Design, with talks by Pinkie Maclure, Atelier NL and Maria Sparre-Petersen.

Closing Keynote: Dr Max Stewart will discuss how we can ensure the future of glass education for all.

Delegates will hear from leading voices in art glass and access contemporary thought within an underrepresented field of art history. Find out more here.

The symposium at the National Museum of Scotland takes place in the Auditorium, Level 1 (entry via Chambers Street, Chambers Street, Edinburgh EH1 1JF, Scotland).

Book ticket via Eventbrite for the in-person event

Book ticket via Eventbrite for the online event.

Image: Glass art by Maria Sparre-Petersen.

Apply to create etched or engraved glass for historic church

Are you a glass artist working in etching or engraving? Would you like the opportunity to create some figurative windows for a Grade 1-listed church with links to Richard III? Read on and, if you want to apply, the deadline for expressions of interest is 11 October 2022.

The year 2024 marks the 550th anniversary of Richard III’s lordship of the town of Barnard Castle. The ‘Windows for the King’ project is a joint initiative by the Parochial Church Council (PCC) of St Mary’s Church Barnard Castle and the Northern Dales Richard III Group, who have formed a Partnership Group.

The group is seeking expressions of interest from etched glass and/or engraved glass designers and artists who would be interested in creating an artwork for installation in St Mary’s Parish Church Barnard Castle.

The church was founded in 1130 and has strong associations with Richard III who, as Lord of Barnard Castle sought to create a collegiate foundation based in the church, investing heavily in its development. In doing so, he enlarged and enhanced the fabric of the building before his death in 1485.

The project seeks to install figurative designs associated with Richard III’s college in the arch above the recently installed inner porch doors. The archway is currently uplit from the nave’s inner pillars and there is some lighting in the outer porch. The outer porch contains regimental Colours of the Durham Militia. The design should not obscure these Colours.

The Partnership Group is seeking figurative designs consonant with Christian tradition and symbolism that portray: The Virgin holding the infant Christ (central); St Ninian of Whithorn; St Margaret of Scotland; St Helen of the Holy Cross; St Catherine of Alexandria, and two supporting Ricardian boars. The artist commissioned for this work will be able to draw upon the considerable background and historical research of the commissioning group.

The whole arch may be treated as seven individual fields, although there may be scope for some fields to merge.

The commissioned artist would be expected to engage the local community in understanding and exploring their work and the processes of design and creation.

Those interested are asked to send: a digital covering letter making clear their interest in the project and any previous community engagement experience, plus a small digital portfolio of work relevant to this project (up to 15 images). The partnership is particularly interested in the portrayal of human figures.

Applications should be sent to Alec.Harding@durham.anglican.org no later than Tuesday 11 October 2022.

The Partnership Group will meet on 12 October 2022 to identify and invite three shortlisted artists to develop a preliminary design (for which a fee of £400 will be paid). Shortlisted artists will be given further historical information about the church, Richard III’s College and the selected figures. There will also be an opportunity for informal conversation with members of the Partnership Group.

Preliminary designs by the shortlisted artists will need to be submitted by 9 November 2022. Then individual Zoom conversations will be held between the Partnership Group and each shortlisted artist between 10 and 17 November to discuss community engagement, timescales, and projected costs.

The winning artist for the commission will be decided in the week commencing 21 November 2022.

Image: The arch above the inner porch doors where the figurative design will be installed.