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.
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.
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.
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
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 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.
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).
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).
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.
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.
Norway’s S12 Gallery is hosting the collaborative ‘Talk To Me’ interactive exhibition by Terese Longva and Roar Sletteland, on now until 20 November 2022.
‘Talk To Me’ is an audiovisual installation, consisting of a series of moving ‘jaw sculptures’ constructed in glass and metal. The sculptures are activated and start moving at different speeds, tempo, intensity and rhythms when people enter the gallery.
The exhibition deals with topics such as physicality and subjectivity, language and communication.
S12 explains, “The figures possess a form of humanity, but only almost. They lack substance. They turn to the audience and to each other and try to say something, but no meaning emerges.
“On the one hand, the exhibition is about what is not talked about, the unmentionable. What can be said out loud, and what must we internalise? What happens to that which we internalise? On the other hand, it shines a spotlight on the overwhelming need for communication and information we experience today.”
Terese Longva is interested in creation and change processes in nature, people and society. She works in various mediums, particularly performance, video and installation. The body and bodily experiences are often the starting point for her works, as a place to make the political visible.
Roar Sletteland is an active contributor to Bergen’s contemporary art scene, particularly in the field of music, stage and sound art. He constructs sound equipment, musical instruments and robotics for his own, and others’, projects. Talk To Me is the first collaborative project between Longva and Sletteland.
The exhibition is supported by the Norwegian Arts Council, City of Bergen, Vestland County Council, More og Romsdal County Council, More og Romsdal Art Center, Billedkunstnernes Vederlagsfond, BEK and S12.
The show is open from Friday-Sunday 12pm to 4pm until 20 November 2022.
S12 Gallery is at Bontelabo 2, 5003 Bergen, Norway. http://www.s12.no
Image: The ‘Talk to Me’ exhibition features moving jaws.
Marybeth Ting loves nothing more than sharing her skills in glass gilding. She pushes the boundaries of the traditional verre églomisé technique by combining it with different materials. Linda Banks finds out more.
You have a background in interior design. What led you to start working with glass?
I have always been fascinated by gilded objects and how they enhance interior spaces. Around 2006, I came across verre églomisé online through an organisation that promotes gilded arts called The Society of Gilders. I fell in love with the art form as soon as I attended my first gilding workshop. The rich historical background and the labour-intensive process of beating gold into delicate pieces of gold leaf shows the craftsmanship of making the material alone. Additionally, creating a physical product with my time, body and energy is fulfilling.
Gold leaf and variegated green combined in a slightly distressed and antiqued finish. This panel is inspired by luxurious, hand-woven damask and brocade fabrics.
What decorative glass techniques have you used and which do you prefer?
My specialisation is verre églomisé using genuine gold leaf. Through the years, I have also expanded my techniques to use non-precious metal leaf, patination, and inlay using mother of pearl. I integrate more techniques to create a unique design. If I had to choose, I prefer to work with genuine gold leaf, since the result is more stunning and timeless. This may be challenging to handle compared to non-precious leaf, but most etching techniques work best with the genuine gold leaf as they result in more intricate detail. For me, it is important to work with the highest quality materials and I love the delicate handling involved in making a single work. To the untrained eye, it’s difficult to tell the difference, but as an artist, even though nobody may see it, you will know, and that will show your dedication to making something great.
This coffee table top uses 23k gold leaf, palladium, variegated metal leaf and polychrome. This design is inspired by an Islamic geometric design called Girih, characterised by symmetry through repetitive patterns, and mirroring combined with floral and curvilinear patterns, called Arabesque.
What is your creative approach? Do you draw your ideas out or dive straight in with the materials?
I visualise and sketch out the design concept, then I make my notes on specification and materials. verre églomisé is done in reverse order, from foreground to background, so I plan out the complete process before I start gilding. Although planning is important, the plans may change. Sometimes I find more clarity to my design vision or find a more interesting perspective to take, so I may make adjustments to its execution as needed.
You have built upon your traditional gilding methods, exploring patination and using mother of pearl inlay. What drives you to push the boundaries of what is possible?
As an artist, I am constantly challenged by the limitless design possibilities. I want to explore more materials and apply different techniques to produce a unique twist to this very traditional craft. Also, it helps me add more nuance to my design by incorporating materials and techniques that are often not used together in a single project.
A composition of curvilinear patterns on gold leaf with a subtle hint of blue-green from mica powders and textures in gold and variegated leaf in warm tones of red and pink.
What is your favourite tool or piece of equipment and why?
The essential tools for gilding, such as the gilder’s tip, knife, pad, and brushes are all stored in my gilding kit. Opening my kit excites me because it signals the beginning of my gilding process. It never gets old.
Laying the gold leaf. This is usually the trickiest part of gilding, but with repetition it becomes second nature.
Do you have a favourite piece you have made? Why is it your favourite?
Bruno, the gilded bulldog, is my favourite. I was on the phone with my brother and he was talking about his adorable bulldog named Bruno. I wanted to create something unusual in the world of verre églomisé, so I decided to make a project centred around my brother’s dog. When I was drafting the sketch, there was a pile of Chigoyami and metallic Kinkaku Japanese papers sitting on my desk. I had this creative instinct to integrate that idea into my draft, so I was inspired to use these Japanese patterns on Bruno. It felt ambitious, since it was my first big project, but it helped me grow by utilising all the techniques I knew at the time and learning more nuance about my craft. I consider this project to be a significant milestone in my verre églomisé journey.
‘Bruno’ features whimsical patterns in 22k gold leaf. This artwork is inspired by Marybeth’s favourite Japanese Chiyogami hand-screened paper from the Edo period.
Where do you show and sell your work?
You can visit my website www.marybethting.com to see my work, or my Instagram @marybeth.ting shows more projects I’m working on day-to-day.
You are an instructor with the Society of Gilders and have produced online courses to teach Verre églomisé techniques. Why is it important to share these skills?
When I began my journey in mastering verre églomisé, there weren’t many learning opportunities. It felt like it was on the brink of extinction, since there were only a handful of people that taught, and even those who were capable of teaching no longer wanted to teach to keep the exclusivity of the art form.
After years of attending workshops taught by a select few, and experimenting on my own, I gained the confidence to start teaching the art form myself. As a certified instructor of the Society of Gilders, I wanted to give people the opportunity to learn verre églomisé and appreciate it as much as I did when I was exposed to it for the first time. But, most importantly, by offering these classes online, I can reach people around the world who aren’t able to travel for in-person workshops.
This year, the Society of Gilders is hosting an in-person conference where I will be among the instructors to teach verre églomisé and other forms of gilding, on frames, exteriors, statues and more. If you’re interested to learn more about gilding, I recommend visiting their website at https://societyofgilders.org/.
Who or what inspires you?
Aside from the gilded works of Gustav Klimt, some of my favourite artists are Yayoi Kusama and Takashi Murakami. I enjoy their playful creations and the fact that they are unapologetic about their colourful personalities. I also take inspiration from my own stories and experiences that trace back to my early childhood. I channel my emotions into abstract and intuitive designs in my projects. Each project is a collection of my experiences that resonate with me.
Did the coronavirus impact your practice and, if so, how did you adapt?
The coronavirus pandemic caused delays in shipping artwork and the cancellation of in-person classes that I wanted to teach. Despite these obstacles, I adapted by teaching my gilding class online, gaining a more global reach. Also, by staying at home due to COVID-19 restrictions, I had more time to sit down and experiment with new techniques to incorporate into future verre églomisé projects.
Marybeth burnishing a 22k Chinoiserie panel and inspecting carefully for spot gilding as needed in preparation for the next step, reverse painting.
About the artist
Marybeth Ting discovered the art of verre églomisé when she moved to Toronto, Canada, in 2005. This art form is embedded in rich history dating back to the 18th century, employing various metals and the iconic gold leaf on glass to produce a lustrous finish.
A traditional art complemented with contemporary techniques, Marybeth has elevated the art form inspired by nature motifs, natural patterns and textures, along with artistic influence dating back to her early childhood. Her artistry continues to evolve exploring skills in patination and using mother of pearl inlay on glass.
Marybeth is a certified instructor of verre églomisé under the Society of Gilders, a professional member of the American Society of Interior Designers (ASID) New York-Metro and the Association of Registered Interior Designers of Ontario (ARIDO).
She has worked with clients on commissioned pieces ranging from glass paintings to tabletops and wall panels. Her work is exhibited and collected internationally.
Main feature image: Detail of ‘Edna’, a very personal piece dedicated to Marybeth’s mother who is suffering from dementia. It features 22k gold leaf and various metals, with strong bright colours that convey her intense, conflicting emotions of love and sadness.
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