As part of the national Artists Access to Art Colleges (AA2A) project, the University of Sunderland is offering free placements to artists and designer-makers in 2022-23.
Glass artists are among those who can undertake a period of research or realise a project using the university’s workshops and supporting facilities, such as IT, the lending library and lecture programme. They must commit to at least 100 hours between October 2022 and May 2023.
The selection of artists will be based on their commitment, need, and ability to make best use of the opportunity. It will also take account of the suitability of their project, their proposals to interact with students, and their professionalism as an artist.
The AA2A schemes aim to benefit students and institutions through their interaction with practising creatives. AA2A welcomes applications from those with disabilities, from culturally diverse backgrounds and non-graduates.
London Creative Network (LCN) at Cockpit is offering free business training for craft practitioners based in London.
The programme will take place between early September and late December 2022. It comprises information-led and practical workshops, complemented by small group coaching. These are delivered by the Business Incubation Team at Cockpit, alongside hand-picked guest speakers and trainers.
Each place is worth over £1,000, but at no cost to the participants. Those enrolled can access 15 hours of support through a choice of lectures and workshops, small group coaching sessions, and informal talks.
Workshops will be a mix of online and in-person sessions.
Prospective participants must be able to show a body of work demonstrating excellence of skill in craft and have craft as a full time living, have craft as a substantial part of income, or be actively working towards this. Further requirements are listed in the link below.
The deadline to apply is midnight on 8 August 2022.
Find out more about the selection and eligibility criteria, and apply, via this link.
This training programme is funded by the European Regional Development Fund and is the final one to be delivered. The LCN scheme has been running since 2016.
Harry Forster-Stringer transforms jewellery, functional forms and art objects with fused, powdered glass in a myriad of rich colours. Here he explains his journey into enamelling, and the inspiration behind his designs, to CGS Glass Network digital’s editor, Linda Banks.
You have been a jeweller for many years and use enamelling in some of your work. How did you first become interested in enamelling?
I learned a range of techniques during my jewellery apprenticeship. My interest in enamelling was rekindled when I was asked to give some summer classes at the Birmingham City School of Jewellery. One of my students was the enameller Rachel Gogerly, who was chairman of the Guild of Enamellers. Sadly, she is no longer with us, but she was a huge inspiration to me.
Rachel asked me if I would give a joint masterclass on engraving alongside the master enameller Phil Barnes. Seeing Phil and Rachel’s work ignited a fire in me and I just knew it was something I wanted to do.
This pendant sold as soon as it was finished. It is Sterling silver with a triangular cut cabochon rhodolite garnet stone.
There are various enamelling techniques. Please describe them and the different effects they achieve.
The main enamelling techniques used today include cloisonne, which uses thin wires of copper, silver or gold to create sections, plique a jour, which also uses metal wires to create individual cells, but has no backing so the light can shine through, and champleve.
The technique I use most is champleve. This involves carving the metal that will support the enamelling to the depth that I require, then cutting a pattern, which helps to reflect the light and allows movement within the work.
The champleve method of enamelling begins with carving the design to be flooded with enamel. These two parts are for a box and are held in the enameller’s vice.The finished box features graded blue enamelled leaves.
Through Queen Elizabeth Scholarship Trust (QEST) funding you were able to work closely with the late Phil Barnes, who was widely seen as the master of enamelling processes. What did you gain from this experience?
I was very lucky to gain a QEST scholarship in 2017. This enabled me to work under the instruction of the master, Phil Barnes. I feel so grateful that I had the opportunity.
Prior to this, I had been enamelling my jewellery and others’ work, but I wanted to know how to do this on a larger scale. This would enable me to start making work that was more artistic, rather than functional or for adornment.
After my first lesson, Phil called me and insisted that I stay at his home with him and his wife Linda. He wanted me to grow my knowledge all the time. Even near the end of his life he would call to give me advice about how to resolve specific problems. A very important lesson I learned from Phil was ‘fail to prepare, prepare to fail’. This tip is highly relevant to enamelling.
Towards the end of his life, Phil invited me and another enameller he knew to come over. He had divided his tools and enamels and wanted to give them to us. It was a very emotional moment, but, even now, when I’m having a bad day with my enamelling, I still take comfort from Phil, as he is in my head with all that advice. I will always be grateful to QEST and Phil Barnes.
An enamelled tooth pick holder.
What is your creative approach? Do you draw your ideas out or dive straight in with the materials?
The quick answer is that inspiration usually comes five minutes before I fall asleep. However, my creative process is probably founded on a more complex background of experience. I was born in East Ham at the start of the 1960s but, by the time I was five, I was living in Karachi, West Pakistan and, later, in Dacca in East Pakistan (now known as Bangladesh). We travelled all over India and Nepal, so at a young age I was immersed in culture, the sacred geometry, vibrant colours, and even the clarity of the water running down the rivers and streams of the Himalayan mountains. I was absorbing everything, and I think that’s why shapes are so important for me and are my starting place. Once I can see something in my head from all angles, I’m ready to start. I do a few rough drawings and then develop the idea from there.
What is your favourite enamelling tool or piece of equipment and why?
I don’t really have a favourite tool for enamelling. They are all important, depending on what you are doing. However, I do love to watch the enamel cooling after firing and seeing the different colour changes until it settles to its final colour.
Harry lays the enamel with a goose quill, which he prefers to a brush as he has more control over the water. This is the Bendicks box he made for his QEST scholarship sponsor.At least 10 firings were needed for the Bendicks box. Here is the body of the box in the kiln.
Do you have a favourite piece you have made? Why is it your favourite?
One of my favourite pieces is the Bendicks box, possibly as this is something Phil saw and praised. Bendicks have a royal warrant because the Queen is a fan of their mint chocolates, so I thought that this design needed to be regal.
I added a crown to the top and realised I had not made a tower with a crown, but rather a good old post box! Somebody else had beaten me to it!
Overall, I like each piece I have made until the next one comes along.
Detail of the top of the box made for Bendicks, the company that sponsored Harry on his QEST scholarship. In his research before making the box, Harry discovered that in the early days of the company (it was formed in 1930) people would purchase an ornate box in which to keep their chosen chocolates. This was a very environment-friendly idea that saved on packaging.The regal Bendicks box and the carousel holder for the chocolates.
What advice would you give to someone wanting to start working with enamels?
Ideally you should find someone who knows what they are doing to give instruction. If you are going to teach yourself, you need a benchmark of what is good. The V&A Museum in London is a great starting point, as it has lots of great enamel, created using different techniques. However I recommend investing in a couple of lessons on how to prepare the enamel and lay it, as this will save a lot of time in the long run as you need a lot of patience and perseverance. Enamelling is not as easy as you might like to believe.
This tiger fish brooch was commissioned for a wedding anniversary. Harry suggested that he could make a stand for it so it could be displayed when not being worn. Harry adds texture to the silver before adding the enamel to the body of the fish.This picture shows the piece with its second layer after firing and cooling.The finished brooch displayed on its stand as an ornament when not being worn.
Do you have a career highlight?
My career highlight was meeting Rachel Gogerly and Phil Barnes. If I had not met them I would not have ignited the passion to get better at enamelling. In terms of enamelling, my highlight was achieving a QEST scholarship and then being able to work under Phil Barnes’ guidance. That experience saved me years of trial and error. A further pinnacle was meeting all the people at QEST, who have been, and continue to be, a massive support to me.
Where do you show and sell your work?
Most of my work is commissioned through word of mouth or referral from the jewellers and designers I work for. At the moment, I’m doing a lot of work for other manufacturers. Before the pandemic I was doing a lot of events organised by QEST, which worked well for me.
Enamelled silver cigar holder.
Who or what inspires you?
My biggest inspiration is Phil Barnes, who was a fantastic teacher and, more importantly, my friend. He was my ‘big brother from another mother’. Plus, I must not forget Rachel Gogerly, who was the key who opened the door to my passion for enamelling. They both have a special place in my heart.
Did the coronavirus impact your practice?
Yes, it had a massive impact on the jewellery business. Anyone who has ever tried to take pictures of enamelling will know how difficult it is, and it really must be seen in person to appreciate its real beauty. Everything just came to an abrupt halt.
The pandemic did affect my mental wellbeing initially. I lost my way a little, as it felt like a dark tunnel without end. However, when I thought of others who were in a much worse situation with their loved ones, it brought everything into perspective.
Thankfully life is getting back to normal slowly. However, people’s shopping habits have changed, so it may take a little while. The good thing that has come from it is that people are more involved with art and crafts again, and I have been doing a lot more teaching since the rules relaxed.
Rich purple enamelling enhances the intricate design of these silver cufflinks.
In conclusion
The passing on of knowledge is crucial in craft. Knowledge that has been given by a master can date back thousands of years and will go forward for thousands of years, as long as the chain is not broken. Through sharing skills, a little bit of you goes on forever.
Now in its ninth year, The Enchanted Garden 2022 international art exhibition in Belgium features many new glass artists, marking the International Year of Glass.
Around 50 sculptors are taking part this year, showing work in glass, wood, bronze, ceramics, metal, recycled material and stone. This diversity of materials and varied techniques ensures an eclectic mix. All the pieces are exhibited in a structured, natural landscape garden full of water and contrasts.
Among the glass artists participating this year are: Annemarie van Uden (NL), who combines colours and delicate structures, both abstract and figurative; B. Jane Cowie (Singapore), who was inspired to create two-metre high glass sculptures with LED light by the ‘weeds’ in The Enchanted Garden; Marc Hadermann (BE), who created 50 snowdrops in glass and ceramics that grew into the trees, and Maurice La Rooy (NL, BE), who was inspired by the end of the lockdown and life to make two different series, ‘When Spring Comes’ and ‘MoMonto-Mori’.
At least half of the visitors come mainly to see the garden, with its many facets, such as ponds, streams, meadows, woods, the ‘secret garden’, labyrinth, terraces, rose hedges and the numerous benches to relax and enjoy views of the Hesbaye countryside.
There are no exotic plants nor ‘cultivars’, but a rich variety of indigenous, spontaneously grown wild plants, including an abundance of wild orchids.
The garden is located halfway between Brussels and Liège.
Visitors should use the large car park 400m from the exhibition and take the short, pleasant walk in the shade of the trees to the exhibition. Parking address: Rue Saint-Marie 1, 1370 Saint-Jean-Geest, Belgium.
The Enchanted Garden exhibition is on each Friday, Saturday and Sunday (1-8pm) until Sunday 25th September 2022. Admission is 8 Euros per adult, with children under 12 free. To avoid queues on Sundays between 2pm and 6pm, booking is advised (https://www.the-enchanted-garden.info/Reservation).
The Garden is at: Rue du tilleul 22, 1370 Saint-Jean-Geest, Belgium. For more information, and to view artworks for sale, visit the website.
Image: Hendrike Huijsmans’ glass and metal sculptures.
Glass artists no older than 40 are invited to apply for the biennial Jutta Cuny-Franz Memorial Award 2023.
The 10,000 Euro Jutta Cuny-Franz Memorial Award was founded by Ruth-Maria Franz (1910–2008) in memory of her daughter, artist Jutta Cuny (1940–1983).
Jutta Cuny was a renowned glass sculptor from the mid-1970s until her early, accidental death. Her work was shaped from solid glass blocks by sand-blasting and she has been credited for opened new paths into glass art. Transparent glass was her favoured material, which she contrasted with materials like bronze or porcelain.
The Jutta Cuny-Franz Foundation supports artists who show outstanding talent and make significant use of glass in their work. Its main instrument is the award of prizes every two years.
As well as the main Jutta Cuny-Franz Memorial Award, two talent prizes are awarded, each of 1,500 Euros. The winning works will be published in the journal New Glass.
The winners will be selected by a jury. The panel this time comprises: Christoph Brockhaus (former director, Lehmbruck Museum), Dedo von Kerssenbrock-Krosigk (head, Glasmuseum Hentrich), Helmut Ricke (former head, Glasmuseum Hentrich), Elisabeth Scheuba (attorney at law), Ulli Seegers (professor, Heinrich-Heine-Universität Düsseldorf) and Thomas Virnich (artist and professor, Braunschweig University of Art [HBK]).
This is an open, international call for entries and there are no submission fees. Online applications will be accepted from 1 August to 11 October 2022. Please submit your application via www.artaward.net/cuny (this website, including further instructions, will be live from 1 August 2022).
The awards will be presented in Spring 2023.
Today the Glasmuseum Hentrich owns the artistic legacy of Jutta Cuny, including five major, and a number of smaller, works of art. It is thus the largest collection of her work in a public institution.
The Jutta Cuny-Franz Foundation is based at Kunstpalast, Ehrenhof 4–5, 40479 Düsseldorf, Germany. More information on the award is available on the website.
American glass artist Carrie Gustafson finds peace in her painstaking process of hand-cutting and applying stencils to create patterns on glass. She inhales her surroundings and exhales life into new pieces. Linda Banks finds out more.
What led you to start working with glass?
I discovered glass while studying printmaking at Rhode Island School of Design (RISD) and I was instantly captivated by the material.Glass was (and still is) relatively new as an ‘artistic medium’ and my imagination soared with the endless possibilities of this magic material.
‘Stingray Mbola’ features Carrie’s signature detailed surface decoration. Photo: Bill Truslow Photography.
What glass techniques have you used and which do you prefer?
I’ve explored fusing, blowing and engraving. Working in the hot shop is an exciting part of the process, but I prefer the more tactile moments that can only be found when the glass is cold. I enjoy the moments when I can be quiet and alone in the studio, either cutting stencils or in the cold shop. These techniques are where my soul drops anchor.
You work with glassblowers to create blanks for you to embellish. How do you find working with other people?
I’ve had the great fortune to work with many highly skilled teams in the hot shop. And I love working in collaboration with other makers who share a similar aesthetic. Over the years I’ve learned that it’s important to have a road map, but it’s equally important to stay flexible. To listen to the material and not be too rigid is key. The piece, when it’s on the pipe, is being directed by the gaffer, so I feel it’s important to give his/her energy space to flow naturally and with the material.
‘Cage Bowls’ by Carrie Gustafson. Photo: Bill Truslow Photography.
What is your creative approach? Do you draw your ideas out or dive straight in with the materials?
To have a productive day in the hot shop it’s crucial to have direction andI spend a lot of time drawing and choosing colours beforehand. But, when I begin embellishing the vessels, my approach is much more intuitive. This is the time to set aside any preconceived ideas and let my intuition be the guide.
The two parts of my process where I find the greatest joy are in the designing stage, when I’m preparing drawings and choosing colours for a blow day, and then in the quiet time I spend alone in my studio hand-cutting stencils and patterning forms. In recent years I’ve begun to make wall panels (what I refer to as ‘shard drawings’), and I am finding a similar rhythm and joy in the slow process of cutting, polishing and arranging these colourful elements.
A lot of your work is inspired by patterns in nature. Why are pattern and colour important to you?
I trained as a printmaker, so I come to glass with the eye of a two-dimensional artist.Pattern and colour are what most interest me and one of the aspects that drew me to blown glass was the challenge that a three-dimensional object presents to patterning. I spend a lot of time in nature so when I begin to pattern a vessel the rhythms and colours of nature are floating in my subconscious.
Decorating forms requires me to be very still and ‘sit’ with the form. The subtlest curve of a vessel can completely alter the visual rhythm of a pattern and this is where feeling and intuition come into play. My patterns come from a deep place of stillness; I don’t use rulers or take measurements. They are purely intuitive. And the reward comes when the pattern, colour and form sing harmoniously.
‘Sapphire Mbola’ by Carrie Gustafson. Photo: Bill Truslow Photography.
You have moved from a focus on decorative vessels towards open artworks. Why has your work taken this direction?
I originally moved in this direction when I was offered an exhibition in a large gallery space and was imagining ways to fill the walls. I had had limited time to return to this idea, but the pandemic provided a beautiful window of opportunity. With the hot shops shut down I had both the time and the materials to explore this direction further. I love the fluidity and intuitive playfulness of working with (and arranging) the glass elements and I am incredibly excited about taking my work this way.
This ‘Blossoming’ wall panel shows the direction of more recent work. Photo: Carrie Gustafson.
What message(s) do you want to convey through your art?
What is your favourite tool or piece of equipment and why?
Of course, I love my X-Acto precision knives!But I have an equal affinity for the lathe and the flat mill in the cold shop – anything that lets me be quiet and slip into flow.
‘Bird of Paradise’ is a favourite of the artist. Photo: Mark Nantz.
Do you have a favourite piece you have made? Why is it your favourite?
I have a favourite form each series, but, if I had to choose, I would say the Jaipur Mbola and Stingray Mbola and Bird of Paradise are a few of my favourite pieces. Both the colour and patterning of Jaipur challenged me technically. I see the piece as a demonstration of my patience and skill. In contrast, I love the hazy mystery of the Stingray Mbola. It was an extraordinary reveal when I peeled off the stencils. Plus I am delighted that it is in the permanent collection of someone I admire! Bird of Paradise is a stunner and the metal work was technically challenging.
‘Jaipur Mbola’ presented technical challenges. Photo: Bill Truslow Photography.
That said, my newest shard drawings are the pieces that most feel like ‘me’.I love the playful nature of the elements; gestural and fluid. Expansive. I am in pure flow when I create them and I love the ‘motionless motion’ that they convey.
‘Petals of Joy’ panel. Photo: Carrie Gustafson.
Where do you show and sell your work?
I sell online (direct) through my website and have limited gallery representation.
Do you have a career highlight?
Last summer I was included in an exhibition at The Sandwich Glass Museum titled ‘Influential Women in Glass’. The invitation was a huge honour, and I felt really proud of the collection that I presented.
Detail of ‘Bird of Paradise’. Photo: Mark Nantz.
Who or what inspires you?
I’m inspired every day by my peers, who continue to hold their vision and trust their processes.
The patterning on these ‘Dahlia’ vessels comes alive in the light. Photo: Carrie Gustafson.
Did the coronavirus impact your practice? If so, how did you adapt?
The coronavirus slightly impacted my studio practice, in that the hot shops were closed. This meant that I was unable to make new ‘blanks’. However, as a cold worker, I had plenty of material in my studio that I could work with and, as an introvert, I was well positioned for the solitude. Glass and Light became my pause. A gift. The time in my studio felt like a residency.
The virus did, however, greatly impact how I sold my work.With the closure of galleries and cancelled exhibitions, I had to take the reins of my career and pivot in a new direction.This involved the creation of an online web-shop, email marketing and actively posting to my new Instagram account. These two platforms have enabled me to maintain a dialogue with my clients and share my work and process in a way that feels intimate and engaging. In the absence of in-person shows it’s also provided a path for me to receive feedback from both collectors and peers.
‘Leaf Bowl’ by Carrie Gustafson. Photo: Bill Truslow Photography.
And finally…
I feel incredibly fortunate that the work that brings me joy resonates with so many people and I’m grateful everyday that I get to share my gift with the world.
About the artist
Carrie Gustafson at work in the cold shop. She applies an intricate pattern of hand cut stencils to the top layer of coloured flash glass and sandblasts through multiple, translucent under-layers to create her designs. Photo courtesy of ‘American Craft Magazine’ – Cary Wolinsky.
Experiments in glassblowing while a printmaking major at Rhode Island School of Design (RISD) ignited Carrie Gustafon’s signature style of intricate patterns on vibrantly coloured, hand-blown glass. Upon graduation she quickly found her way into the glass studio.
Her curiosity took her to the Pilchuck Glass School (WA), Penland School of Crafts (NC), the Studio at the Corning Museum of Glass (NY), and the Rosin Studio, on the island of Murano, Venice, Italy.
In 1998 she found studio space in Cambridge, MA, which is where she continues to work.
In 2011 and 2016 she received a Massachusetts Cultural Council Grant. This, coupled with a residency at the Tacoma Museum of Glass (2011), enabled Carrie to break away from the vessel. The act of cutting open the vessels presented her with new possibilities and challenges, both technical and aesthetic.
In 2015 she made her first ‘shard drawings’ using the shelves of glass blanks that had been deemed seconds. She took inspiration from the patterns that she had been using in her vessels and began slicing and dicing platters into gestural marks of colour.
Find out more about Carrie Gustafson and her work via her website, where you can also see video of her process: https://www.carriegustafson.com
Main feature image: ‘Mass Cultural Thistle Bottles’ (2016) by Carrie Gustafson. Photo: Bill Truslow Photography.
Come along to Stourbridge Glass Museum on Saturday 23 July 2022 for ‘Hands On’, a day of discussion and exploration of contemporary glass.
Hands On is an in-person gathering at the recently-opened museum and one of many events being held in 2022 to mark the Contemporary Glass Society’s (CGS) 25th anniversary and the UN-designated International Year of Glass. The International Year of Glass has partly funded the day.
Attendees will be able to visit the exhibition ‘CGS at 25: Past, Present, the Future’, as well as hear presentations from glass artists and Andy McConnell, the glass expert from the BBC tv series ‘Antiques Roadshow’.
The artists speaking will be Georgia Redpath, Chris Day and Nina Casson McGarva.
Hands On takes place at the Stourbridge Glass Museum, High Street, Wordsley, Stourbridge DY8 4FB from 10.00am to 4.30pm on 23 July 2022. The cost is £11, which includes tea and coffee. Please bring your own lunch.
There are limited spaces for this exciting event so please book early.
There is car parking on site and at the Red House Glass Cone opposite.
Please email Pam at CGS (admin@cgs.org.uk) for details of how to pay by PayPal or bank transfer, or post a cheque made out to CGS to: CGS, The White House, Ipswich Rd, Dickleburgh IP21 4NJ.
St Mary Redcliffe church in Bristol, England, is inviting designs for four stained glass windows to replace four that were removed in 2020.
The panels were removed because they commemorated Edward Colston, who was a prominent merchant, Tory Member of Parliament, philanthropist and slave trader in the area in the 17th century.
The new stained glass panels will sit at the base of the North Transept stained glass window, which tells the story of the Good Samaritan (Luke 10. 25–37). The new designs should reflect the theme of the main window, namely ‘And who is my neighbour?’.
The church is looking for creative and imaginative designs that will work well across the four small panels of glass that run along the bottom of the north transept’s central window. The new design should not be seen in isolation and must sit comfortably within the context of the north transept as a whole.
You do not need to be a stained-glass artist/designer to enter. If the winning design is by a non-stained-glass artist, a stained glass studio will be appointed to work with them.
Designs must be submitted on paper or digitally by the deadline of Sunday 10 July 2022.
More information, images of the window panels, and the application form are available via this link.
In 2023 the Glass Art Society (GAS) will be holding its annual conference in Detroit, Michigan, USA (7-10 June). It is asking for individuals and organisations in the glass community to share their knowledge and experience at next year’s meeting.
The GAS conference organisers are looking for people to present demos, lectures, lecmos (a mix of lecture and demo), panels, and anything in between.
The 2023 conference will focus on the community, collaboration, and crossover that is so prevalent in Detroit and is therefore looking for presentations on the following topics:
Techniques and collaborations in all areas of glass;
Career development or involvement in the glass community;
Making from around the world and underrepresented communities;
Current trends, ideas or issues related to glass making, study or community;
Artists or organisations that focus on social justice in their practice, such as voting rights, climate justice, healthcare, refugee crisis, racial injustice, income gap, gun violence, gender inequality, hunger and food insecurity, LGBTQ oppression, and disability rights and accessibility.
It is free to apply and the deadline to send in your proposal is 17 July 2022.
The latest round of applications for craft development funding from The Queen Elizabeth Scholarship Trust (QEST) opens on 11 July 2022. Successful applicants can use the money to extend their craft practice through further training and mentoring programmes.
QEST awards scholarship and apprenticeship funding of up to £18,000 to talented and aspiring craftspeople working in a broad range of traditional and contemporary skills twice a year (January and July).
The next application round is open 11 July – 15 August 2022.
Since it was founded in 1990, QEST has awarded over £5.2million to 675 individuals working in over 130 different crafts. QEST defines craft broadly and welcomes applications from all areas, including rural skills, contemporary craft, conservation, luthiery and more.
Read about the two latest contemporary glass funding recipients here.
Interested makers can attend a Zoom ‘How To’ session to find out more about the application process and for helpful tips on filling out the application forms.
‘How To Apply For A QEST Scholarship’ is on two dates: Wednesday 13 July 2022 at 4pm. Register in advance here. Thursday 28 July 2022 at 4pm – register here.
‘How To Apply For A QEST Apprenticeship’ is on Tuesday 19 July 2022 at 4pm. Register here.
Find out more about QEST and previous recipients of awards via the website https://www.qest.org.uk
This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
