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.
A joint exhibition of contemporary glass by members of the Contemporary Glass Society (CGS) and the Scottish Glass Society (SGS) has been launched in Glasgow, Scotland.
‘Stories – Whispers from the Past and the Present’ takes place in two venues in Scotland, namely the Trades Hall, Glasgow, (14-22 September 2022) and then moves to the Wasps Creative Academy, Inverness (4-29 October 2022).
Exhibitors have been selected from members from both organisations in the UK and internationally.
The theme support’s Scotland’s Year of Stories, which is ongoing throughout 2022. This spotlights, celebrates and promotes the wealth of stories inspired by, written, or created in Scotland. From icons of literature to local tales, the 2022 Year of Stories aims to encourage locals and visitors to experience a diversity of voices, take part in events and explore the places, people and cultures connected to all forms of stories, past and present.
‘Stories – Whispers from the Past and the Present’ encouraged the participating makers to consider the five strands of Scotland’s theme for 2022:
Iconic stories and storytellers: To showcase Scotland’s wealth of treasured and iconic stories and storytellers from classics to contemporary across literature, the screen and the entertainment world. New stories: To shine a light on emerging, fresh and forward-looking talent and highlight the innovators who break boundaries across all forms of storytelling. Scotland’s people and places: To promote how Scotland’s diverse culture, languages, landscapes and ways of life, urban and rural, provide a source for all types and forms of stories. Local tales and legends: To bring to the forefront those distinct tales that communities pass through the generations. Those stories that we tell ourselves and share with others to make sense of time and place. Inspired by nature: To feature our encounters with nature. Whether by the sea or land, along rivers or through woods, in city and country, we discover stories of birds, insects, animals and plants. These stories define our place in the natural world and help create a more sustainable future for Scotland, and a greener planet.
CGS Chair Susan Purser Hope said, “The exhibition will demonstrate how utterly glorious and amazing contemporary glass is, so that everyone can appreciate and enjoy its magical colours, textures, use of light and variety of techniques. It is also an opportunity for the public to discover not only local glass artists but also work from other parts of the UK.
“This is CGS’s second collaborative exhibition with the Scottish Glass Society. The previous show was such a success that we are excited to have this wonderful opportunity to not only exhibit at the prestigious Trades Hall in Glasgow again but to tour the show to this exciting new venue in Inverness.”
The artists showing work are: Gregory Alliss, Carolyn Barlow, Karen Beggs, Isobel Brunsdon, Michael Bullen, Catherine Carr, Helen Cowart, Elizabeth Cull, Jacky Edwards, Claire Fairley, Fiona Fawcett, Pamela Freedman, Hannah Gibson, Steven Graham, Jianyong Guo, Siobhan Healey, Kate Henderson, Vicky Higginson, Alison Jardine, Alison Kinnaird, Tim Kirman, Jessie Lee, Frankie Leigh, Julie Light, Catherine Lowe, Chris MacCormick, Anthony McCabe, Judith McCrorie, Fiona McLean, Rhona Morrison, Wendy Newhofer, Emma Nightingale, Lois Parker, Ian Pearson, Rachel Phillips, Susan Purser Hope, Penny Riley-Smith, Charlotte Rodgers, Karen Shakespeare, Phillipa Silcock, Angela Thwaites, Gail Turbutt, Jane Vincent, Lee Watson, Brian Waugh, Liz Waugh McManus, Frans Wesselman, Sarah Wilkinson, Christina Yip, and Wang Ziyan.
Are you an artisan whose work sets new standards for the future of craft? If so, why not enter the Loewe Foundation’s sixth Craft Prize?
The organisation seeks to recognise uniquely talented craftspeople and its Craft Prize awards the winner a prize of 50,000 euros. In addition, the shortlisted and winning works will feature in an exhibition to be held in New York, USA, in Spring 2023.
Entries can be made by an individual or group and all nationalities are welcome.
Work submitted must demonstrate artistic intent, as well as technical proficiency, and should be handmade or partly handmade. It must also have been produced within the last five years, be one of a kind and have not won any prizes previously. It should be innovative, in the sense that it updates tradition. The work can be a single piece or a series.
An expert panel will select a shortlist of 30 works, which will be presented to a jury of 13 leading figures from the world of design, architecture, journalism, criticism and museum curatorship. This jury will choose the winner.
Applications must be submitted by the deadline of 25 October 2022.
The Spanish Loewe Foundation was established in 1988 by Enrique Loewe Lynch, a fourth-generation member of the Loewe family. Today, under the direction of his daughter Sheila Loewe, the Foundation continues to promote creativity, support educational programmes and safeguard heritage in the fields of poetry, dance, photography, art and craft.
Find out more and submit your application via this link.
Monarchist or Republican, Queen Elizabeth II’s passing is a time for us to pause and draw close to those we love and cherish – those who are important to us.
Sue and Pam Chair and Adminstrator, Contemporary Glass Society
Two exhibitions of glass by members of the Contemporary Glass Society (CGS) are launching at the Pyramid Gallery in York, England.
The ‘Bedazzled – 25 Glass Makers Impress’ exhibition is a selected show featuring the work of 25 artists to mark the CGS’s 25-year anniversary.
CGS Chair, Susan Purser Hope, commented, “We invited our members to provide us with glasswork that dazzles us with colour, technique, sparkles and quality. The exhibition aims to show us why glass is such a precious material to work with. And there are also some elements of silver to bedazzle us and to commemorate our 25 years.”
The chosen artists are: Sarah L Brown, Tabitha Burrill, Julie Coakley, Catherine Dunstan, Shirley Eccles, Jianyong Guo, Crispian Heath, Vicky Higginson, Catherine Hough, Alison Jardine, Juliette Leperlier, Monette Larsen, Catherine Mahé, Tracy Nicholls, Ian Palfrey, Susan Purser Hope, Morag Reekie, Helen Restorick, Cathryn Shilling, Elizabeth Sinková, Amy Skachill Burke, Helen Slater Stokes, Pippa Stacey and Liz Pearson, Nancy Sutcliffe, and Bethan Yates.
Pyramid Gallery owner Terry Brett was one of the panel who decided on the exhibits. He said, ‘The CGS is impressively well organised and able to attract submissions from a huge range of glass makers and artists. Between us, we have selected 25 individuals, many of whom are new to the gallery, but also several who we have worked with before. It will be an exciting and stimulating show that will certainly impress our customers and glass collectors.”
Alongside this show is a fun exhibition of small works submitted by over 50 CGS members. This display is called ‘Razzle Dazzle: Five x Five’, with pieces measuring no more than five inches square and for sale at prices to suit all budgets.
Both exhibitions are on from 10 September to 30 October 2022 at The Pyramid Gallery, 43 Stonegate, York YO1 8AW, England. https://www.pyramidgallery.com
If you cannot visit in person, why not find out more about the artists and the work for sale via this link?
Image: (left) ‘Microscopic Pools’ by Bethan Yates; (right) ‘Metamorphosis’ by Cathryn Shilling (photo: Agata Pec).
Take a look at the latest CGS online exhibition, ‘The Human Condition’, which is featured on the CGS website until 30 October.
The theme for the exhibition is an exploration into what makes us human. CGS Chair, Susan Purser Hope, explains, “We wanted our member artists to really explore what characterises the essentials of human existence from birth and continues throughout our lives.
“We invited artists to ponder on birth, growth, emotion, aspiration, conflict and mortality, or simply demonstrate through their glass what makes them who they are. Their work celebrates their own personal condition, as they let their glass do the talking. They show us what they love, hate, fear and hope for.
“The aim of the ‘The Human Condition’ was to give CGS members the chance to reveal parts of themselves that might be vulnerable, challenging, or celebratory. The entirety of human experience involves being human and living human lives. We are mortal beings, and through our journeys as humans, we live through a cascade of biologically-determined events. It is how we react to or cope with these events that is the human condition.
“Put simply, the human condition is the act of living and everything it entails.”
The artists exhibiting are CGS members from the UK and around the world. They are: Janine Altman, Janette Garthwaite, Eva Walsh, Tali Grinshpan, Jo Mitchell, Nancy Sutcliffe, Nicholas Rutherford, Deák Zsuzsanna, Malina Cipleu, David Reekie, Becky Harris Cowley, Phillipa Candy, Teresa Chlapowski, Samantha Schmid, Elana Tree, Julia Kastler, Mariana Sabbatella, Julie Light, Linda Harris, Lesley Pyke, Annie Ross, Jacque Pavlosky, Steven Graham, Anne Scott, Lois Parker, Jan O’Highway, Mark Ammermann, Jacky Edwards, Hillary Heckard & Marco Signoretto , Morag Reekie, Zihao Xiong, Steve Jensen, Shannon Ellis Baker, Fabrizia Bazzo, Pascale Enfold, Vicky Higginson, Richard T Roberts, and Emma Borland.
After it ends its showcase spot on the website on 30 October, ‘The Human Condition’ exhibition will remain in the online gallery for the long term.
US-based Jim Scheller makes glass art with an engineer’s eye, using kilnforming and coldworking to achieve his intricate pieces. Linda Banks finds out more.
What led you to start working with glass?
When I retired I guess I was hanging out at home too much. In 2012 my lovely wife saw an advertisement for an evening class at Bullseye in Portland in the US. She bought it for me as a gift. It turned out the be the gift that kept on giving.
Jim Scheller fell in love with kiln formed glass.
What glass techniques have you used and which do you prefer?
I’ve tried pretty much everything you can do in a kiln, except pate de verre (I’ve only made one very simple piece). I started with the usual, fusing two sheets of glass together and slumping that. Then I moved on to pattern bar-based pieces. I really enjoyed making thick things. I learned how to do lost wax casting from Nathan Sandberg at Pilchuck in 2014, which led to my ‘Tafoni’ series.
‘Tafoni 1841’ is made from kiln cast glass.
My most recent work is made using three-step moulds from Bullseye, starting with my ‘Lines’ collection. For the past year I have been creating the ‘Ancient Rings’ series, which involves on-edge construction, followed by slumping with the Bullseye three-step moulds for deep vessels. I am really enjoying making deep vessels.
‘Lines’ series. Vessel Composition 33 – Planes Of Primary Lines.
What is your creative approach? Do you draw your ideas out or dive straight in with the materials?
Mostly, I imagine what I want to make. I run scenarios over and over in my mind. When I hit on something I like I make a quick sketch. However, in the case of the ‘DeStijl’ inspired pieces, where precise dimensions are important, I draw them out using PowerPoint. Any 2D CAD program will work, but I have years of experience in my previous life as an engineer making PowerPoints.
‘A Bowl for Guy de Lussigny’. This brightly coloured kiln formed glass vessel is inspried by the 1973 painting “Réf : 105 M III” by French artist Guy de Lussigny (1929 – 2001).
What inspires your work?
I am inspired by artists from the early 20th century, particularly the DeStijl movement of Dutch artists, who promoted geometric from in their work. My glass vessel designs are informed by studying the simplicity and abstraction of neoplasticism that they used. Inspiration for cast works comes from a fascination with the geological forms, textures and colours found in nature. As an engineer, I become immersed in the process of making, joining glass, heat and gravity to create works inviting one to view the once molten glass in a dance of light and colour.
This kiln formed glass vessel is inspired by Piet Mondrian’s 1943 painting ‘Broadway Boogie Woogie’.
What message(s) do you want to convey through your art?
My message is to enjoy what you are seeing. The viewer can make up their own story.
‘Opaque Water’ is one of Jim Scheller’s large bowls.
What is your favourite tool or piece of equipment and why?
Right now, for the ‘Ancient Rings’ series, there is no way I could place the more than 15,000 tiny pieces without my 15mm tweezers. The strip cutter is a necessary tool. I also love the 24-inch flat lap.
‘Ancient Rings 21’ glows in green against the white glass.
Do you have a favourite piece you have made? Why is it your favourite?
I really like all the pieces in my ‘Ancient Rings’ series. If I had to pick a personal favourite right now from what I have done so far it would be ‘Ancient Rings 17’, because it is quite different to all the others.
Jim’s personal favourite currently is ‘Ancient Rings 17’.
Where do you show and sell your work?
I am represented by Philabaum Glass Gallery in Tuscon, Arizona and Piece Art Gallery in Vail, Colorado. I am also represented by Artful Home and Springfield Art Association, which is a wonderful organisation that offers so much to Springfield, Illinois, and the surrounding area. In addition, all of my work can be seen on my website.
What advice would you give to someone starting out on a career in glass?
It’s tough to make a living. I don’t. But some people can. My advice on any career would be what I followed in my ‘before glass’ life. This is to study hard and learn to be the best at what you do. Work hard at your job. People notice. Continue studying and improving. Love your work. People notice.
‘Tafoni 2’.
Do you have a career highlight?
Every time I have been to Pilchuck, in a class or residency, has been a highlight. I always come away with lifelong friends and inspirations for my art.
Another continuing highlight is the relationship I have with the galleries that carry my work. I am fortunate in that regard.
And finally…
I am in a show featuring my ‘Ancient Rings’, which opens on 4 February 2023 at Philabaum Glass Gallery.
About the artist
Glass artist Jim Scheller.
Jim Scheller works exclusively in glass, kilnforming at his Macoupin Prairie Glassworks studio in Staunton, Illinois near his childhood home of Mt. Olive.
In September 2018, after 27 years, he moved from his forest home and studio – Chehalem Mountain Glassworks in Schools, Oregon.
After a long career as an engineer and technologist he discovered glass kilnforming in 2012.
He finds great pleasure in pushing the limits and developing new techniques. His works are composed with glass sheets, crushed glass (frit) and glass slabs (billets), which are fired to over 1400 degrees Fahrenheit. The fired works are extensively coldworked to achieve the final finish.
Find out more about Jim Scheller and his work via his website or follow him on Instagram: @schellerjim.
Main image: ‘Ancient Rings 12’. This series features many thousands of 9mm squares of glass that are slumped several times to achieve the deep bowl shape.
The winner of the ‘Best in Show’ category in the Contemporary Glass Society’s (CGS) ‘Holiday Heaven’ exhibition at the International Festival of Glass 2022 was fused glass artist Sarah Aumayer.
Her piece, entitled ‘Umama’, was inspired by the Commonwealth country Lesotho, which is in Southern Africa. It beat off competition from around 100 other entries that had been submitted for the show by CGS members.
Best in Show winner Sarah Aumayer (left) with CGS Chair Susan Purser Hope in front of the Holiday Heaven display of postcard-sized works of art at the International Festival of Glass.
CGS Chair Susan Purser Hope explains, “Over the last couple of years, many of us have not been able to venture abroad, so CGS asked its members to use their imaginations to take themselves around the world instead. In this year of the Commonwealth Games, we celebrated the diversity and richness of the 54 countries that make up the Commonwealth in Africa, Asia, the Americas, Europe and the Pacific.”
Nearly 100 CGS members created their own special and unique glass postcards which were launched at the International Festival of Glass at the Ruskin Centre, in Stourbridge.
The exhibition continues until 28 September 2022.
Sarah’s prize of £300 was sponsored by Alan J Poole. She has been working with fused glass for nearly 20 years. Originally from Cornwall, she now lives in North Somerset where she has a home studio for her business, Mydsomer Studio. She creates contemporary, abstract and stylised items in fused glass.
The other winners were:
Runners Up (each receiving £100, sponsored By Mark Holford):
Rachel Elliott Penny Riley-Smith Nour El Huda Ray Taylor
Highly Commended (each receiving £50, sponsored by Alan J Poole):
Marc Fresko Morag Reekie Glenn Godden Opal Seabrook
Pearsons Glass also gave a prize to the artist whose postcard has the Most Innovative Interpretation of the Commonwealth theme. This was awarded to David Reekie.
Visitors can still view the exhibition and choose their favourite to nominate for the ‘People’s Prize’ (£300, sponsored by Mark Holford).
In addition, all of these mini holiday postcards are for sale at prices ranging from £50 to £100, raising funds for the CGS.
Many postcards sold within the first two hours after launch, but there are still some available. Contact Pam Reekie on email: admin@cgs.org.uk if you would like to purchase one.
The exhibition is located at the Ruskin Glass Centre, The Glasshouse, Wollaston Road, Amblecote, Stourbridge, West Midlands, DY8 4HF and continues until 28 September 2022.
Main image: Best in Show winner ‘Umama’, by Sarah Aumayer.
Throughout 2022 the Contemporary Glass Society (CGS) has been marking its 25th anniversary – and the UN-designated International Year of Glass – with lots of exciting events and exhibitions across the country. All members are invited to take part in the grand finale exhibition of this momentous year, ‘Glorious Glass’, which will be held at the Artizan Gallery, in Torquay, Devon.
This show is unselected and open to all CGS members, regardless of where they are in their career or where they are located. All work in the exhibition will be for sale.
The exhibition will take place from 26 November to 24 December 2022.
The deadline for applications is 5pm on Monday 19 September 2022.
CGS Chair, Susan Purser Hope, explains, “The aim of the ‘Glorious Glass’ exhibition is to demonstrate how utterly glorious and amazing contemporary glass is, so that everyone can appreciate and enjoy its magical colours, textures, use of light and variety of techniques, as well as discovering their own local glass artists. The work displayed will feature as wide a range of techniques as possible. Although South-Western-based CGS members are encouraged to enter, all CGS members are welcome to take part.
“We are delighted to be exhibiting for the first time with Julie and Jacob Brandon at Torbay’s Artizan Gallery, which is an independent fine art gallery dedicated to championing the work of local artists in the South West.”
For more information and the application form click here.
If you are not yet a member of CGS and would like to take part in ‘Glorious Glass’, why not join here now?
Image: A view of the interior of the Artizan Gallery, Torquay, Devon, where the ‘Glorious Glass’ exhibition will be presented.
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