Do you have an old glass item that you made many years ago, gathering dust in your studio or languishing at the back of your garage? More importantly, would you consider letting it go for a great cause? Stourbridge Glass Museum (SGM) is launching a new fundraising idea called ‘Something Old for Something New’.
The plan is to auction off your old glass donations to raise funds for the new SGM. The auctioneer will be ‘Antiques Roadshow’ TV show presenter Will Farmer, who is also one of SGM’s trustees, and director of Fieldings Auctioneers in Stourbridge, West Midlands.
Lynn Boleyn of SGM says, “If you could find an old friend that you’d be happy to donate we’d be thrilled, especially if there is a story behind it that we could share. We don’t want you to make anything new; with a green agenda, we aim to help glass artists and the new museum.”
Will Farmer has agreed to auction any donations free of charge and with no reserve, meaning items will be accessible to everyone, with all funds raised going to the museum.
When you wrap your piece for delivery, please include a short note about the piece you are donating, and Will Farmer will include this in the auction catalogue.
You can deliver your item to Fieldings Auctioneers (Mill Race Lane, Stourbridge, DY8 1JN), or to the SGM (High Street, Wordsley, DY8 4FB) during the International Festival of Glass/Biennale. The donations will be put on display at the museum’s VIP Royal opening on 14 September 2022, prior to the auction in October 2022.
For further information, contact Will Farmer at Fieldings (Tel: 01384 444140), or Lynn Boleyn at SGM (Tel: 01384 900447; email bgf@britishglassfoundation.org.uk).
North Lands Creative’s ‘Glass, Meet the Future’ (GMTF) film festival will return for a third time in January 2023. Applications are now open for films and ‘festival-responsive commission’ works.
The festival showcases international, diverse and engaging short films which feature glass. This latest event takes place from 7 to 28 January 2023 and is presented with a new partner, the Shanghai Museum of Glass.
Films
For the film entries, the organisers are looking for applications from female-identified and non-binary filmmakers using the mediums of glass and film. Films can be anything from a few seconds long to a maximum of 15 minutes, although a maximum of 10 minutes is preferred. The selected films will be shown on the festival’s online platform. Artists can also submit the work to be shown for the in-venue screenings at the Shanghai Museum of Glass and North Lands Creative (subject to curatorial approval).
Deadline for film applications: 3 October 2022.
Festival-responsive commissions
In addition, North Lands Creative and Shanghai Museum of Glass are offering commission opportunities for makers to create new, festival-responsive work or associated programming that clearly responds to the use of the medium of glass. Proposals can be for any amount from £200 up to £3000 (to include all artist fees, materials, and costs to deliver the commission proposal). The organisers expect to commission work across a range of contexts, concepts and costs.
Deadline for these applications: 12 September 2022.
As well as the partnership with the Shanghai Museum of Glass, the GMTF film festival is also supported by Creative Scotland.
North Lands Creative is based in Caithness, Scotland. It is focused on contemporary glass and committed to developing glass in the UK. Through the Alastair Pilkington Studio and Gallery, North Lands Creative facilitates and supports professional artists to make new artwork. It also offers talks, events and education activities around the studio and gallery to engage visitors with artists and making.
Full information and application guidelines for the GMTF film festival are available via this link on the North Lands Creative website.
Twenty of the UK’s leading glass artists have come together to make new and exciting glasswork to be featured in an exhibition called ‘Collaborations’ at Wolverhampton Art Gallery.
The event is part of the International Festival of Glass 2022 and runs from 20 August to 23 October 2022, with a Private View on 23 August. The Private View opens at 5pm, with speeches at 6.15pm.
‘Collaborations’ showcases the work of a determined cross-section of the art glass community, who place glass at the heart of their practice. All have an international standing in their specialist areas, and some have played important roles in glass education. The exhibition seeks to push the boundaries in glassmaking, and examines what glass artists can do when working with one another collaboratively. Each piece has been made specifically for the exhibition at Wolverhampton Art Gallery.
Stained glass, pencil drawings and watercolours by Ilkley-based artist Jonathan Cooke and his son Thomas will be featured in an exhibition at Mill Bridge Gallery, North Yorkshire, in September 2022.
‘Travellers’ Tales’ focuses on journeys of all kinds, real and imagined, through time and in landscape. Jonathan’s quirky stained glass narrative panels and watercolour landscapes are complemented by Thomas’s images of a fictional world steeped in the aesthetic of the Northern European late Middle Ages.
Jonathan’s stained glass art is both traditional and highly original, employing a wide repertoire of glass painting techniques from the conventional to the experimental. These result in idiosyncratic narrative pieces that are usually small scale, often intricately detailed, panels, which address the human condition.
Fascinated by stained glass since childhood, Jonathan served a four-year traditional apprenticeship at the York Glaziers Trust, where he worked on the restoration of Minster’s world-famous medieval glass following the fire in 1984. He has been in private practice since 1987 and has taught glass painting for 30 years throughout the UK, as well as in Norway and the USA.
Thomas Cooke is an autistic art historian and philosopher with eight years of teaching experience. He has always been interested in the history of art and architecture, particularly the aesthetics and culture of late medieval Northern Europe. As a child, he began creating a paracosm – an imaginary world – as a coping mechanism. He now shares this in his highly detailed landscape and architectural pencil drawings of ‘The Principality’, a central part of that world.
An A3 pencil drawing of The Principality by Thomas Cooke.
As well as the stained glass, drawings and paintings there will be a display featuring the processes involved in creating stained glass, plus a presentation/discussion entitled “’An Aurtistic Paracosm’: Disability, mental health, belief, and the creative process”. (Please check for times/dates before travelling)
The venue for the exhibition, the Mill Bridge Gallery (3 Mill Bridge, Skipton, North Yorkshire, BD23 1NJ, UK), dates back to at least 1675 and is reputed to be the oldest dwelling in Skipton.
The Travellers’ Tales exhibition is on from 8 September until 1 October inclusive, from 11am to 4pm, Thursday to Saturday. Other times are available by appointment.
An exhibition focused on glass art finished using different coldworking techniques is on display at The Glass Museum Lette in Germany from 27 August 2022.
Once cast or blown glass has cooled down, it can be technically processed further at room temperature using methods such as cutting, grinding, polishing, engraving, etching, laminating, bonding, sandblasting, wiring and painting.
A selection of glass showcasing these techniques is on view now at the Glass Museum Lette. Some of the pieces are on loan from artists, while others come from the museum’s collection. Viewed together, they draw attention to the multi-faceted and diverse possibilities of coldworked glass.
Among the featured artists is Marta Klonowska, who has gained recognition on the international art market over the years with her unique animal sculptures and installations (see main image). Based on motifs in old master paintings, Klonowska’s naturalistic animals and figures use metal armatures onto which she assembles countless precisely-cut shards and rods of coloured glass. The museum explains, “As if by magic, the cold, rigid glass is transformed into soft, lifelike bodies, putting creatures in the spotlight that are otherwise mere extras in the venerable paintings.”
Meanwhile, Josepha Gasch-Muche uses coldworking to create iridescent murals and three-dimensional objects made of splintered glass. To make them she breaks apart paper-thin, irregularly formed display glass and then layers the splinters over and next to each other, gluing them together invisibly. They appear to move and change depending on the angle of incidence or strength of the light and the position of the viewer.
Josepha Gasch-Muche’s ‘T. 10-01-17’ features splintered glass. Photo by the artist.
Cuban artist Carlos Marcoleta works in diverse fields, including glass. He layers custom-cut pieces of satin-finished float glass to form a structure, an inversion of positive and negative form, for example in the portrait of a woman who seems to be trying to free herself from inside the glass panes. Marcoleta’s work continually changes its appearance with the viewing angle, allowing the observer to explore ‘Mujer 2’ layer by layer.
Carlos Marcoleta’s ‘Caribena-Mujer 2’. Photo: Horst Kolberg.
The exhibition opens on 27 August 2022 and runs until 15 January 2023. The Museum is open on Wednesdays and Saturdays from 2-5pm and on Sundays from 11am-5pm.
Glasmuseum Lette is at Letter Berg 38, 48653 Coesfeld-Lette, Germany. Website: www.glasmuseum-lette.de
Main image: King Charles Spaniel by Marta Klonowska. Photo: Artur Gawlikowski, Galerie lorch+seidel contemporary.
Dutch glass artist Bibi Smit will be showing her colourful blown glass sculptures, ‘Maru Mori: The Heartbreaking Simplicity of Ordinary Things’ at Venice Glass Week in Italy this September.
These sculptures were inspired by the moment in which petals and fruits pass their best and fall to the ground. They become new fragments of nature’s beauty, reflecting their bygone glory.
These works evolved from her ‘Clouds’ series. Bibi explains, “I became more excited about the beauty of simplicity, as an individual fragment of nature, and how you can get so much joy from a tulip petal that falls on the table, for example. It is also how the name came about ‘Moru Mori: the heartbreaking simplicity of ordinary things’. This was taken from the Dictionary of Obscure Sorrows by John Koenig. The work has a stillness and quietness, and I found the poetry of the words to have the same feeling.”
Bibi Smit at work in her studio shaping hot glass. Photo Annemarie Sabelis.
Bibi wanted to make more of the colour and outside shape of her glass, so she closed the opening more to make that more noticeable and created tension and distortion in the shape. This distorted, awkward and clumsy shape was designed to reflect the petal that has just passed its best as it falls off the flower. “It becomes that shape that is still beautiful and still has all the fragility and colour but it’s just slightly contorted,” she continues. “At the end, I was getting really excited about adding a different kind of skin to the glass, so the glass is not only shiny and colourful, but it has this feel of faded and textured bygone glory. I am really excited about going back to the studio in the cold shop and make some new textures and shapes and creating more depth in the surface.”
See Bibi Smit’s new work at: Venice Glass Week HUB Exhibition, on the first floor of Palazzo Loredan, Venice, Italy. The show is on from 17-25 September 2022, opening on 16 September 2022.
The winner of the joint Glass Sellers’ and Contemporary Glass Society (CGS) Graduate Glass Prize 2022 is Polly Thomas-Colquhoun, with her stained glass piece entitled ‘James’.
Polly’s work was selected from 43 applications from 13 British and Irish colleges/universities. In total, 19 glass graduates won prizes or had their work selected for inclusion in the CGS’ New Graduate Review 2022 publication. Four Winners, four Highly Commended, and 11 Commended graduates were chosen to be featured in the magazine.
Prizes included cash, vouchers for glass suppliers, inclusion in New Graduate Review magazine, CGS membership and books.
The full list of winners is:
1st Prize – Polly Thomas- Colquhoun, University of Wales Trinity St. David (MA) 2nd Prize – Sogon Kim, Royal College of Art, London (MA) Runner Up – Eleanor Carney, University of Sunderland (MA) Runner Up – Stephen Chadwick, Arts University Plymouth (BA)
Highly Commended – Charlott Rodgers, Edinburgh College of Art (MFA Glass) Highly Commended – Rodrigues Goncalves, University of Sunderland (BA) Highly Commended – Zoe Johnston, De Montfort University, Leicester (BA) Highly Commended – Eleanor Hughes, University for the Creative Arts, Farnham (BA)
Commended – Christina Dembinska, University for the Creative Arts, Farnham (MA) Commended – Emma Martin, University of Wales Trinity St. David (BA) Commended – Sophia Lydia Henry, University of Wales & Trinity St. David (BA) Commended – Kamila Ratuszynska, Nottingham Trent University (BA) Commended – Ilze Jurševica, Nottingham Trent University (BA) Commended – Angela George, University of Hertfordshire (BA) Commended – Tulin Bedri, University of Wales Trinity St David (MA) Commended – Georgia Hazell, De Montfort University, Leicester (BA) Commended – Bonnie Mustoe-White, Arts University Plymouth (BA) Commended – Valerie Bernardini, Morley College, London (BTec) Commended – Shannon Baker, University for the Creative Arts, Farnham (BA)
‘Inflamed’ by Eleanor Carney won one of the two runners-up prizes. Photo: L Yabsley.
The selection panel was: Bruno Romanelli (artist), Michael Barnes (glass collector/CGS Trustee), Sarah L Brown (glass artist/CGS Trustee) and Leigh Baildham (Worshipful Company of Glass Sellers of London Charity Fund). The judges were unanimous in their choice of the overall winner and praised the high standards of the entries.
Reacting to news of her win, Polly Thomas-Colquhoun said, “I am delighted to have won the Glass Sellers/CGS prize and for all the support that comes with it. Life as an art graduate can feel a little daunting at times, so to receive recognition for my work has filled me with confidence. I have such a passion for my craft and feel excited for all the future possibilities ahead of me. As a new graduate, it is amazing to be able to get my name and work out there. Thank you CGS and The Worshipful Company of Glass Sellers!”
Leigh Baildham, Chairman of Trustees at the Worshipful Company of Glass Sellers of London Charity Fund, commented: “The Worshipful Company of Glass Sellers Charity Fund is delighted to be able to support the excellent Student Award given by the CGS. I was most impressed with the quality and diversity of design styles that were submitted this year. After the challenges of the pandemic, it’s clear that inspiration abounds in our future glass artist community. Please keep up the good work.”
The CGS New Graduate Review is a 16-page publication, which is circulated to all CGS members and associates worldwide. It is also included as a supplement in Neues Glas – New Glass: Art & Architecture magazine.
CGS is grateful to all the sponsors who provided financial support and prizes for the Glass Prize and New Graduate Review 2022, without whom this help for graduates in glass would not be possible. Sponsors: Professor Michael Barnes MD FRCP, The Worshipful Company Of Glass Sellers of London Charity Fund, Creative Glass UK, Pearsons Glass, Warm Glass, Neues Glas – New Glass: Art & Architecture and Alan J Poole.
Main image (left to right): ‘James’ by first prize winner Polly Thomas-Colquhoun, second prize winner Sogon Kim’s ‘Interstellar I&II’, and runner-up Stephen Chadwick’s Yellow Hammer’.
Samantha Donaldson’s spectacular coldworked glass creations are inspired by her fascination with the different coloured layers found in rock formations. Here she explains her alchemy to Glass Network digital’s editor, Linda Banks.
What led you to start working with glass?
Whilst exploring the extensive selection of workshops at Leicester De Montfort University during my Foundation studies, I became fascinated watching people work in the glass studio. I really began to see the potential to experiment and manipulate this wonderous material!
Detail of a ‘Vug’ glass sculpture by Samantha Donaldson. Photo: Agata Pec Photography for Vessel London.
What glass techniques have you used and which do you prefer?
I quickly began to realise that I loved using coldworking techniques to transform formations, by slicing through interesting shapes, grinding through layers and polishing back surfaces. By far the most exciting moment for me is when I slice through my forms, revealing their internal movement.
You work with glassblowers to realise your vision in glass. How do you find working with other people?
Devereux and Huskie, in the inspiring Wiltshire countryside, are without a doubt my super glass hero dream team!
I met James Devereux 10 years ago on my MA course and have continued to work with him ever since. James and I share fond memories of intense workshop experimentation over the years. Not only is he a technical genius when it comes to this material, but he has the power to delve into my mind, helping me achieve my curious creative aims!
What is your creative approach? Do you draw your ideas out or dive straight in with the materials?
I do a fair bit of sketching out of shapes and colour combinations. However, mostly I study my rocks and minerals books and pretty much dive straight into the glass with an idea I have completely designed, and usually already named, in my head!
‘Chromatic Vug’ by Samantha Donaldson. Photo: Simon Bruntnell.
A lot of your work is inspired by nature and geological forms. Why are these important to you?
As a child we were always close to nature. I spent many hours collecting fossils, jet and interesting stones on the beach with my Dad. I think discovering glass, and researching into craftsmen that cut and polish stones to create the best possible optical effects, pushed this exploration further. I then began to look deeper into Stratigraphy, which is multi-layered and multi-coloured rock layering. It is the deposition of one layer being separated from the next by clear intervals or changes in texture, colour or mineralogy. Layers merging with one another create mysterious, unclear boundaries.
Samantha captures the idea of layers of coloured rock in her glass. Photo: Simon Bruntnell.
What message(s) do you want to convey through your art?
I have always been fascinated by viewers’ perceptions of an unfamiliar object of desire; the different things we all see and the way forms remind us of certain things. Glass is such a stunning instrument to use to investigate the seductive distortion of light, meandering through colours, forms and transparency. I use these artistic elements to create energy and motion in what are simply just objects of beauty, to be looked at and enjoyed.
Three different ‘Vug’ colourways. Photo: Simon Bruntnell.
What is your favourite tool or piece of equipment and why?
I think I’d have to say the polishing lathe is my favourite tool, as it brings the biggest transformation during the process, from a frosted satin surface into a super high shine! Of course there is also a lot of elbow grease along the way!
It is the coldworking techniques that appeal most to Samantha Donaldson in glass design.
Do you have a favourite piece you have made? Why is it your favourite?
My most favourite piece I have ever made is my most recent solid, sculptural ‘Pseudomorph’. Pseudomorph is the result of years of experimentation. It turned out better than I could have possibly imagined and I can’t wait to try the next in the series. (See main image).
What advice would you give to someone starting out on a career in glass?
I would say to be patient with the material, as it takes lots of practice to achieve your vision. And to work closely with people who have had a longer relationship with glass. These people are worth their weight in gold, and their knowledge and skills should be studied and cherished.
Samantha marking out her design ready for coldworking.
Do you have a career highlight?
My final MA show at the Royal College of Art stands out as a highlight. I was very lucky to study with such an incredible bunch of talented people, who I will never forget.
The rich depths of colour are shown in this detail of a ‘Vug’. Photo: Agata Pec Photography for Vessel London.
Did the coronavirus impact your practice? If so, how did you adapt?
During the pandemic I had another baby, so I wasn’t being practical in the workshops at that time. However, that period really gave me some space to take a step back and develop the new ideas that kick-started 2022. I also decided to quit my part-time job and throw everything at being a full-time artist and Mummy. This was an unpredictably tough decision, but the best I have made!
Want to know more?
Find out more about Samantha Donaldson and her work via these links:
The programme for this year’s International Festival of Glass (IFoG) is now live on the IFoG website. It promises lots to see and do at venues around Stourbridge (West Midlands, UK) across the August Bank Holiday weekend (Friday 26 August to Monday 29 August 2022).
Among the attractions this year are 12 exhibitions, including ‘Expanding Horizons’, an invitational exhibition by 34 artists from Korea, Japan and China, two book launches, 22 lectures, 28 workshops, 35 scheduled demonstrations and seven evening events, to fill both days and nights.
Meet the artists
Throughout the Festival, there will be opportunities to meet and learn from world-renowned glass artists. The Contemporary Glass Society (CGS) will host a ‘Chit Chat’ where visitors can hear talks by four of the teams creating work for the ‘Collaborations’ exhibition – Chris Day and Grace Ayson; Georgia Redpath and Stephen Foster; Kirsty Brooks and Max Jacquard; and Vanessa Cutler and Allister Malcolm.
Elliott Walker, the winner of Netflix’s last ‘Blown Away’ series, is holding the grand opening of his new Blowfish Gallery and Studio with his partner, Bethany Wood, featuring an artist’s meet and greet.
Over the road, at the new Stourbridge Glass Museum, you can meet Maddie Hughes who is taking part in the new series of ‘Blown Away’.
Another good reason to visit the museum is to view the CGS’s special exhibition, ‘Past, Present, The Future’, celebrating its 25th birthday, with 25 artists to represent each year of the organisation’s existence.
The popular ‘postcard’ exhibition run by the CGS at each IFoG has the theme ‘Holiday Heaven’ this year. Over 100 CGS members will display a diverse range of skills and techniques as they represent different Commonwealth countries in glass panels measuring just 11 x 15 cm. These little works of art will be for sale at £50, £75, or £100, with a percentage going to support the ongoing work of the CGS.
The Masterclass leaders will stay throughout the Festival, contributing to the varied programme of lectures and presentations and demonstrating their skills. Offering insights into their making processes, Satoshi Ishida will talk about Japanese pâte-de-verre, and Wayne Strattman will consider the topic ‘What is Plasma Art?’
IFoG events are taking place at different venues around Stourbridge, including: the Ruskin Glass Centre/The Glasshouse; Stourbridge Glass Museum; The Lace Guild; Red House Glass Cone; Amblecote Wordsley Methodist Church; Wolverhampton Art Gallery, and the University of Wolverhampton School of Art.
Check out the full schedule, day by day, via this link.
Image: Work from the ‘Expanding Horizons’ exhibition showcasing artists from Korea, Japan and China.
Glass artists living and working in Scotland have a short time left to apply for a place at the prestigious Collect 2023 exhibition with Craft Scotland.
Applications are now open for makers who produce works of collectable contemporary craft, to be a part of Craft Scotland’s showcase at Collect 2023.
Collect showcases exceptional work made in the last five years by living artists and designers. Craft Scotland is looking for makers who produce works of collectable contemporary craft, including glass, with a demonstrable in-depth knowledge of materials, excellence in making (process and skill), and an artistic vision.
Collect showcases makers who push the boundaries of their practice. The benefits for participating makers are wide-reaching, with many makers receiving commissions at the fair, being invited to exhibit with commercial galleries, having work purchased for museum and private collections, and receiving considerable press and social media interest, both before and during the fair.
A selection panel appointed by Craft Scotland will meet to review all applications to shortlist a group of makers. These makers will then be submitted to the Crafts Council’s Advisory Panel for final signoff. All applicants will be notified of the outcome of their application in early September 2022.
Those selected will have their work on show and for sale at Collect, which runs from Wednesday 1 – Sunday 5 March 2023 at Somerset House, Strand, London WC2R 1LA.
Please note the deadline to apply is 5pm, Wednesday 10 August 2022.
See the Application Pack & Guidance for further information and a link to the application form. This document is also available to download as a simplified Word document and a large print format.
Image: A view of Collect 2022. Image: Claudia Rocha.
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You work with glassblowers to realise your vision in glass. How do you find working with other people?
