Contemporary Glass Society (CGS) members are invited to submit their glass works to the ‘Joyful Reflections’ exhibition, to be held at the New Ashgate Gallery, Farnham, Surrey.
This curated exhibition takes place from Saturday 30 April until Saturday 11 June 2022.
In this show, the CGS is looking for work from artists that shows quality and the beauty of glass. All our lives have been turned upside down since March 2020. Many of us have experienced highs and lows, fear and boredom, illness and isolation. Through it all, a solace has been the sanctuary of our work and the beauty of the material of glass.
We invite you to step back from the sadness of the pandemic and to embrace the joy of life now. Reflect upon the glorious and mysterious properties of glass – its transparency, its uniqueness, the variety of techniques it offers, its ability to reflect back at us – and for us to express joyful reflections on life and glass!
The selection panel includes Outi Remes from the New Ashgate Gallery, a CGS Board member and an independent artist.
One piece of work can be submitted, or a group of small pieces that does not exceed the maximum dimensions of 75cm high x 75cm wide x 30cm deep. Wall pieces and plinth-based work are acceptable.
Entrants must be CGS members so, if you are not yet a member but would like the opportunity to take part in this show, why not join here?
Work submitted for consideration must have been made after 1 January 2018 and must be for sale.
For full details and the application form, please click this link.
Please note the submission deadline: 5pm on Tuesday 18 January 2022.
CGS is delighted to be working with the New Ashgate Gallery in its 25th Anniversary Year. This is one of a series of special events and exhibitions being held to celebrate this landmark achievement and showcase contemporary glass in 2022.
A new solo show, ‘Distant Electric Vision’, featuring glass artist Jon Lewis, is on now at Vessel Gallery in London.
Engaged with themes of recycling, the creative synthesis of glass with metal, and the transformation of outmoded consumer products into art, this exhibition showcases new works conceived from the artist’s unlimited imagination. From scorched meteorites to sculptural trains, Vessel says this exhibition “will surprise, intrigue and astound”.
Artworks include Lewis’s Moon Rocks, an ongoing series first created in 1998. These tactile pieces incorporate dichroic filters which reflect light of a chosen frequency, while absorbing the rest. When they are placed between two layers of glass with a diffused surface, the resulting object has a shimmering inner glow that changes colour depending on the angle of the light – a technique Lewis invented. Lewis states, “They look like they’ve fallen out of the sky and are a significant artistic and surprising technical discovery, which still delights and amazes me over 20 years later.”
His Apertura series pieces are formed from recycled obsolescent Bang & Olufsen television screens. The optical glass, which has a high lead content, is melted down and blown into amorphic fluid forms. Each piece is then showered with sparks of iron ore which fuse with the surface of the glass upon impact. Lewis calls this unique process ‘spark impregnation’. This metallic layer is then patinated, to age and weather the exterior. An ‘aperture’ of glass is left uncovered to echo a television screen, providing a penetrating observation window.
The term ‘Distant Electric Vision’ was coined in 1908 by the engineer A A Campbell Swinton, who presciently described the principles of the television years before the technology existed to make one. Lewis carries this vision into reality, fusing prehistoric and futuristic themes in his art.
Lewis was awarded the Glass Society Prize at the British Glass Biennale 2019. His Transceiver received an Honourable Mention in Trace – Showcasing Sustainable Glass Art, in the Glass Art Society’s Virtual 2021 Conference.
His dichroic glass has been used in prestigious architectural commissions, including in the Space Pyramidion at the Child Museum of Cairo and the Bliegiessen Sculpture by Thomas Heatherwick at the Wellcome Collection. His work is in the permanent collection of the Glasmuseum Lette, Germany.
The Jon Lewis solo show is on now until 18 February 2022 at Vessel Gallery, between 11am and 5pm, Monday to Friday.
Cara Wassenberg was the successful applicant for the Contemporary Glass Society’s Amanda Moriarty award in 2019. Her prize was a two-week residency with renowned kiln-cast glass expert, Colin Reid. Owing to the pandemic, Cara’s second week at the studio was delayed until October 2021. Here she tells the story of her residency experience, which she used to create three glass artworks on the themes of support or restriction.
It seems amazing that I have only just completed a residency that I applied for in February 2019 – two years and eight months on! But we live in extraordinary times.
During my first week at Colin’s studio I had worked on developing three glass pieces that would be combined with steel rebar elements.
In the months between my first and second week of residency, I tweaked, sandblasted and finished the forged steel rebar grilles that I had used to impress texture into my clay originals. They were finished with a waxed Ferric Nitrate-produced patina. The idea was to fit these metal elements back into the grooves and channels of the cast borosilicate glass forms after cold working.
Day 1
Karen, Colin’s assistant, met me as Colin was away until the next day. It was great to see her and talk about glass again, recall our various lockdown experiences and ask many practical questions, such as: Can you cast glass a second time? What really is devitrification? How do you promote veiling? Is flashing a good thing?
My three pieces consisted of two based on constricted tree forms (44cm and 36cm high), and one cast from a clod of stony earth (14 x 26 x 30cm) that I named Cotswold Clod (see main feature image). All had been impressed with my forged steel grilles.
Before any fine-tuning could take place, a lot of basic forming was required. I had misjudged the amount of glass needed in the moulds using the water displacement method, so the surplus had to be cut off. Karen suggested this could be milled off but I wanted to use only equipment that I had in my own workshop. I have an air compressor, so air tools were ok. I removed the excess with an air grinder and cutting disc. I then started grinding back areas after crosshatching them with marker pen to ensure I didn’t miss one. I went against my own principles when I used the flatbed and Aluminium oxide to level the bases.
I then spent painful hours trying to decide how to make sense of the Tree forms. What is it about glass? It seems to have life of its own, despite the most careful initial mould making of the Gelflex forms and fitting of the steel forms back to the waxes. Shrinkage and distortion appeared to have taken place. An added challenge was the sheer length of time that had elapsed since my initial drawings, when I conceived the idea of split tree guards and saplings; momentum had been lost.
Having more or less given up hope of slotting the grilles back into the glass tree forms, I started sanding down the roughly chopped areas and then threw began boldly cutting away with the air grinder, deciding on the form and facets to be polished in a much more spontaneous way.
The glass is shaped with an air grinder. Photo: Cara Wassenberg.
‘Cotswold Clod’ was a better fit with the steel grille and less cold working was needed. I cut away underneath so that the base was as small as possible, bringing more lightness and making it appear less lumpy and top-heavy. Karen suggested grinding and polishing the base to let more light in. This is not usually advised because the bottom of a piece is easily scratched, but it worked well in this context and it could be protected with small gel feet. I succumbed to the easy joy of the automatic, vibrating reciprolap and the next day returned to find my clod had a wonderfully smooth, shiny bottom.
Cotswold Clod was smoothed on an automatic reciprolap bed. Photo: Cara Wassenberg.The polished underside of Cotswold Clod. Photo: Cara Wassenberg.
Day 2
I continued to cut and work my tree forms, which were becoming more tusk-like. I felt like a stone or ice sculptor. I cold worked holes to push the grills in, but they still seemed like an add-on. I let the shape and texture of the pieces dictate the form to me. Embracing a more spontaneous approach felt good and the hours passed quickly as I imprinted more texture, using the domed head of the air die grinder and the electric foot-pedalled flexi drive for more precise areas.
The tree forms begin to look more tusk-like. Photo: Cara Wassenberg.
In the afternoon Karen was packing up a piece of Colin’s work to send to a gallery and she explained some of the best ways to construct a packing case. She used 10mm plywood with rope handles, arranging 10cm thick foam around the edges, which she glued to the box with a spray adhesive used for upholstery. Such practical chats were informative about how to run a studio.
The residency provided many opportunities to learn all aspects of running a studio, including how to pack glass. Photo: Cara Wassenberg.
Day 3
In the morning the sandblaster and I got to know each other. Colin has an American beast of a machine and it made light work of both the Cotswold clod and brought greater uniformity to the tree form pieces. The ground down areas merged with the textured parts and at last I could see them as homogenous pieces.
Cara had the use of the studio equipment, including the sandblaster.The sandblasting process provided greater uniformity to the Tree forms. Photo: Cara Wassenberg.
Colin gave me a ‘tutorial‘ about firing schedules, which was immensely helpful and gave me more confidence. I learnt a new word from Colin: ‘Crizzle’. This means something between crack and fizzle and is what happens when you plunge hot glass into cold water in a tin bucket to make frit.
Day 4
Cara worked with a variety of polishing pads to smooth her artworks. Photo: Cara Wassenberg.
The polishing day dawned. I had pinpointed some areas of my tree forms where I wanted to let the light in and Colin showed me how to work my way up from a green Diasol pad to a brown smoothing pad on the pneumatic air polisher, to achieve a flawless, polished finish. This was learning by doing and there was something very meditative in this methodical process. Once I had carefully crosshatched and polished away the spines, I saw the power of a particular polished area in contrast with a sandblasted textured one. I loved being able to highlight a definite ridge and was seduced by the languid depths of veiling. I realised that, with relatively simple purchases, I could achieve the same results in my cowshed.
The two Tree Forms I and II that Cara made during her residency. Photo: Cara Wassenberg.
My pieces were nearly finished. I masked off the polished areas and gave all the pieces a final sandblasting and treated those matt areas with a protective liquid called Clear Shield.
Day 5
Colin takes all his own photos and gets great results. After so many years of experience he knows his subject, his equipment and audience well and he has found his formula. He backlights his polished glass against a black background and generally uses only one, and sometimes two, Bowen studio lights. I had brought my own Canon camera with me which wasn’t too dissimilar to his.
Colin Reid’s photography set-up. Photo: Cara Wassenberg.
He helped me set up my pieces and I used his flash head to link his studio light operation to my camera. I spent the next couple of hours getting some shots, systematically adjusting the aperture to a range of exposures. The quality of the results was impressive, and I understood how to achieve similar results at home.
Cara Wassenberg’s Tree form showing the incorporated steel. Photo: Cara Wassenberg.
That afternoon I loaded up my van with three new pieces of work, but that was just the half of it. More importantly, I left armed with more techniques than I could have imagined. Despite the pandemic, both parts of this residency took place at exactly the right time for me in my life and work practice. I had had a good idea of what I needed to learn, but I had no idea that the whole experience would be so comprehensive and fulfilling.
I have notebooks full of information and new tools on order and I know that it will feed into my work and workshop practice. My mould-making process is already greatly improved and now I can start letting light in to my copper pieces through areas of cast class.
I want to say a huge and sincere ‘thank you’ to the board of the Contemporary Glass Society for giving me this opportunity, and of course to Karen Browning for all her knowledge and help. My final thanks must go to Colin himself for inviting me into his beautiful, creative studio and sharing his vast expertise, knowledge of technique and his time.
If you would like to read the blogs leading up to this second week of residency, please follow this link to my website https://carawassenberg.com/news/.
About the artist Cara Wassenberg studied Fine Art in Coventry in 1986 and went on to specialise in metalwork and design at Hereford Technical College. She has worked with artists and metalsmiths in London, Lisbon, Memphis and Berlin.
In 2012 she worked with the French copper smith Christoph Desvallees in Normandy.
In 2017 she completed a Masters degree in Metal Work and Glass at the University of the Creative Arts, Farnham. Following this, she began incorporating cast glass into her work.
She teaches metals-based short courses at West Dean College of Arts and Conservation alongside her own studio practice.
Artists who engrave glass have an added incentive to submit their glass creations for the British Glass Biennale exhibition 2022.
This is because the Guild of Glass Engravers is offering a prize at the show for the first time. The £1,000 Guild of Glass Engravers Prize will be awarded to an exhibitor selected to exhibit at the Biennale exhibition.
The British Glass Biennale is part of the International Festival of Glass and takes place at the Glasshouse Arts Centre, Ruskin Glass Centre, in Stourbridge, UK. The 2022 event opens on 26 August.
Since its inception in 2004 the International Festival of Glass has celebrated and showcased the skill and innovation of the glass industry and makers, historic and contemporary, local and international.
At the heart of the Festival is the British Glass Biennale, a juried exhibition of excellence in contemporary glass by UK based artists, designers and craftspeople and British artists working abroad.
The exhibition features the latest work from across the whole spectrum of glass techniques and uses an anonymous selection process, giving emerging artists an equal opportunity to be selected alongside the top names in British glass.
The emphasis at the show is on new work demonstrating the highest level of excellence in design, creative imagination and technical skill.
The submission deadline for glass art at the International Festival of Glass is Midnight on Sunday 27 February 2022.
The exhibition dates are from 26 August to 1 October 2022 (Tuesday to Saturday from 10am to 4pm).
In addition, there are various open prizes awarded at the Biennale.
For further enquiries about the British Glass Biennale, email: BGB@rmlt.org.uk
For information and an application form for the British Glass Biennale, click here.
The Norwegian S12 Gallery invites glass artists working in Norway (of any nationality), and Norwegian glass artists working abroad, to apply for its group exhibition and artist in residence opportunities at the gallery in 2022.
To mark the UN’s International Year of Glass in 2022, the S12 Gallery in Bergen will be focusing its attention on Norwegian glass art. The exhibition will be curated by Mika Drozdowska, from the SIC Gallery in Wroclaw, part of the BWA Wroclaw Galleries of Contemporary Art.
In addition, one or two of the selected artists will be invited to take part in a residency at S12, where they will have the opportunity to experiment and create new work for the exhibition, assisted by the workshop manager.
The exhibition will open in May 2022 at S12 in Bergen, with some exhibits travelling on to Slovakia’s glass museum in the town of Lednické Rovne, in April 2023.
Applicants must use glass, alone or in combination with other materials, in their work. They are invited to submit images of between one and three pieces where glass is an important part of the work.
Deadline: 31 January 2022
Read more about the open call and find submission details here.
The S12 Gallery and open access workshop is at Bontelabo 2, 5003 Bergen, Norway.
If you are looking to develop your glass practice with new training, equipment or travel, why not apply for funding from the Queen Elizabeth Scholarship Trust (QEST)?
QEST awards scholarship and apprenticeship funding of up to £18,000 to talented and aspiring craftspeople working in a broad range of skills, such as glassblowing, farriery, jewellery design, silversmithing, dry stone walling, cheese maturing, sculpture and more.
Its next application round is open from 10 January – 14 February 2022.
Many glass artists have made successful applications in the past and been supported both with funding and new opportunities to market and exhibit their work. Read about some of them here.
QEST celebrated its 30th anniversary in 2020 and since 1990 has awarded over £5 million to 650 individuals working in over 130 different crafts.
A directory of all past alumni can be seen on the QEST website, along with more details on how to apply. There are two application rounds each year – in January and July.
Three ‘How To Apply’ sessions will be held on Zoom to give advice and tips on the application process:
Scholarship sessions: 12 January 2022 04:00pm London Register in advance for this meeting via this link.
31 January 2022 04:00pm London Register in advance for this meeting via this link.
Apprenticeship session: 20 January 2022 04:00pm London Register in advance for this meeting via this link.
Are you a glass artist based in the North East of England? If so, you can apply for a bursary to support your practice via the National Glass Centre (NGC).
The current Glass Prize exhibition on show at the NGC is part of a wider project supported by the Garfield Weston Foundation, which includes two Glass Prize bursaries.
These are open to applications from artists who specialise in glass and who are either based in Sunderland, or in the wider North East (Northumberland, County Durham, Tyne & Wear and Teesside), and have a connection to Sunderland through their practice.
The two bursaries will enable artists to develop their practice. This may be achieved by investing in studio time, equipment, materials, mentoring or travel (or a combination of approaches).
Each bursary totals £4,750.
The bursaries are not open to students and applicants must be able to undertake and complete work relating to the bursary between 1 February and 31 March 2022.
Applications will be assessed by a panel led by Julia Stephenson, Head of Arts, NGC. The NGC reserves the right to acquire an example of the work created as a result of the bursary for its collection at no extra cost.
If appropriate, the NCG may wish to display work resulting from the bursary.
Applications for the NGC Glass Prize Bursary must be submitted by midnight on Sunday 16 January 2022.
Germany’s Glasmuseum Lette is launching a new exhibition on 8 January 2022, entitled ‘Fernweh’. The term Fernweh means ‘wanderlust’, representing a strong longing to leave familiar surroundings and set off into the big wide world.
However, getting away has become complicated during the coronavirus pandemic, with all the travel restrictions, entry rules and quarantine regulations. Those who have travelled over the past two years have usually chosen destinations closer to home. So, the museum feels the sense of Fernweh is undiminished!
As a result, Fernweh has inspired the creation of a new exhibition, with works selected from the collection of the Ernsting Foundation. A wide range of different sculptures, objects, vessels and wall installations have been chosen, with each, sometimes whimsically, sometimes more thoughtfully, alluding to other countries and cultures and evokes associations with Fernweh. The exhibition aims to be an enjoyable journey to worlds both near and far.
Even before the term Fernweh became common, people experienced the painful longing for far-off places. Goethe, for example, paraphrased it in 1822 as a ‘feeling of flight’, a ‘longing for far-off places’ and ‘reverse homesickness’. With the concept of the ‘blue flower’, Romantic literature created a concrete symbol for this yearning, for the search for the unattainable and the infinite.
The word Fernweh first appeared in literature around 1835, in a travel account by the famous writer and landscape architect Hermann Prince of Pückler-Muskau. He wrote that he “never suffers from homesickness (Heimweh) but rather from Fernweh”.
In the twentieth century, the tourism industry seized on the concept, using targeted advertising with enticing images of tourist destinations around the world. It has thus become important to the international economy.
But Fernweh is not just about the urge to travel, as science has discovered. It may simply reflect the desire for a change of scenery or some variety and colour in an otherwise grey day-to-day life. Some may feel a diffuse restlessness, while others are unhappy and depressed. Travel promises an escape but, when it is not possible, books, the theatre or museum exhibitions offer the promise of fantasy worlds. Therefore scientists refer to Fernweh as an important ‘cultural technique for staying at home’.
The Fernweh exhibition opens at 14.00 on 8 January 2022. Address: Glasmuseum Lette, Letter Berg 38, D-48653 Coesfeld, Germany. Website: http://www.glasmuseum-lette.de/en/
In accordance with current regulations in the State of North-Rhine Westphalia, the 2G or 2G+ rule applies at the Glasmuseum and Glasdepot (2G: admission only with proof of vaccination against COVID-19 or recovery, 2G+: a negative PCR test is also required).
Image: One of the artworks showing at the Fernweh exhibition, ‘The perimeter of air’ (2014), by Vittoria Parrinello. Photo by the artist.
Danish curator and art historian Mikkel Elming will join Glasmuseet Ebeltoft, the contemporary glass museum in Ebeltoft, Denmark, on 1 January 2022.
Glasmuseet Ebeltoft is a private, self-financing institution established and directed by the Foundation for the Collection of Contemporary, International Glass Art. The museum aims to present the best in contemporary, international glass art through an ambitious exhibition programme.
It holds a unique collection of glass art from around the world, as well as having a professionally-run glassblowing studio on site.
Elming has been involved with Aarhus’ contemporary art scene for a number of years. He was co-creator and leader of Regelbau 411 and Foreningen for Samtidskunst (The Association for Contemporary Art).
Speaking of his new role, Elming commented, “I am very much looking forward to working together with the museum’s skilled team and many voluntary helpers. Glasmuseet Ebeltoft offers a wide range of unique experiences, and together we will create an even more exciting and alluring museum.
“In developing the museum, we will be focusing on sustainability, digital opportunities and on exploring new approaches to working with artists and glass. I am very excited and can’t wait to get started.”
Chairman of the Museum Foundation’s Board, Henning Kovsted, added, “Mikkel Elming is a rising star on the contemporary Danish art scene, and we are proud that he will be the next Director of the museum. We are welcoming the new generation’s view on the museum’s practice and we are convinced that Glasmuseet Ebeltoft will continue the current positive development under Mikkel’s leadership.”
Mikkel Elming has an MA in History of Art from Aarhus University. He is experienced as a curator, project manager and art communicator.
Glasmuseet Ebeltoft was inaugurated in 1986 and is considered one of the world leaders in its field. It is under the patronage of Her Majesty Queen Margrethe II.
Image: Mikkel Elming, who will take over as director of the museum on 1 January 2022.
Glass artist Laura Quinn worked with fashion designer Helen Hayes to create an elegant dress that featured a striking collar made from glass rods. This project is run by the Design and Crafts Council of Ireland (DCCI) and the Council of Irish Fashion Designers (CIFD).
Each year, under the remit of the project, craftspeople and fashion designers are paired to create new, and even unlikely, collaborative wearable pieces. This initiative is the brainchild of Edmund Shanahan, chair of the Council of Irish Fashion Designers (CIFD), whose vision was for ‘designers and craftspersons to appreciate each other’s skills and to explore new ways to develop and present their work’.
This is the third year that the project has run, and one of the eight collaborative pairs this time included glass artist and Contemporary Glass Society member, Laura Quinn, who was paired with Dublin-based fashion designer, Helen Hayes.
All of Laura’s and Helen’s design conversations happened over video calls, both because the collaboration was carried out during lockdown and also because they were in different geographical locations.
The pair posted material samples and templates back and forth between the UK and Ireland before proceeding to make the final piece. Both remarked on how difficult it was to gauge the colour and tone of their materials over a computer screen, so this process relied on being able to see and feel the glass and ribbon fabric in real life.
To combine their aesthetic, making skill and design, Laura and Helen sought to find commonalities in their work. Using linear materials such as the ribbons and glass rods, they considered how the materials related to the human form. They took into account the movement and undulation of the ribbon and glass as they wrapped around the body, showing off the way both materials played with light. This was the inspiration for the wearable piece they designed.
The design process, featuring Laura’s glass rods on the template.
Laura used lampworking to create the glass element of the look. The glass was combined with her digitally-designed, and waterjet cut, silicone rubber elements, which allowed the structure to be flexible around the moving body.
Each glass component was designed to slot in and out of the silicone, enabling repair and replacement, as well as bespoke fitting to the wearer.
Flexibility and adaptability are key design elements in most of Laura’s work, and here they allowed the glass section to be adapted to fit the model. Through video calls, Laura directed Helen on how to adjust the fit of the glass structure so it could be worn comfortably by model Katie Geoghegan.
Helen created the dress using over 500 metres of ribbon, stitched to create a pleated effect. This pleating is the signature of Helen’s work. The result is a stunning look that uses linear materials, both glass rods and ribbon, that play with light as they undulate around the body.
The use of fine ribbon and glass rods created an elegant silhouette that shimmered in the light.
Laura said of the experience, “Normally I shy away from colour, focusing mainly on clear glass in my work, because there is just so much for me to explore with the optic effects of glass alone. But this collaboration has given me the confidence to start to include colour in my work, whilst keeping the overall form streamlined to explore how the glass interacts differently with light.
“Working with Helen was such a joy, and the outcome of the project is better than either of us expected. It has reminded me that, even though it’s so easy to get wrapped up in our own bubble of making, there is great merit in working collaboratively with other people. Getting a fresh eye from a non-glass maker has helped to give me a new perspective on my practice.”
The final look went on display for the first time at the CIFD Autumn/Winter 2021 runway show. It was well received and was subsequently picked up by various fashion journalists in high-profile newspapers and magazines.
Maggie Napier’s glass featured in a millinery collaboration with Wendy Louise Designs.
Fellow Irish glass artist, and County Down-based lampworker, Maggie Napier, also had her glass featured in a collaboration with milliner Wendy Louise Designs. Maggie created intricate, bright and beautiful glass elements using her lampworking techniques to adorn the headpiece.
Laura’s works ‘Flop Lights II and III’ have also been selected for the National Glass Centre Glass Prize 2021. These are two illuminated glass sculptures that play on the fragility of glass by making it flexible and highly tactile. The forms are soft, flexible and durable, allowing the audience to touch, squeeze and squish, and challenging their perceived constraints of glass.
Laura’s Flop Lights II & III feature glass and silicone.
The pieces comprise 1,300 individually lampworked glass components that fit, interchangeably, into a waterjet-cut silicone framework. The combination of materials plays with the light from its central body, creating refractive, reflective and fibre optic effects. These artworks are on display now as part of the show, which runs until 13 March 2022. The National Glass Centre is at Liberty Way, Sunderland, SR6 0GL, UK.
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