Glass artists are among those working in the applied arts who are invited to apply for the fifth LOEWE FOUNDATION Craft Prize. The competition is an international award celebrating excellence in craftsmanship.
The LOEWE FOUNDATION “seeks to recognise uniquely talented artisans whose artistic vision, technical skill and determination to innovate will set new standards for the future of craft”. It states: “By identifying work that reinterprets existing knowledge to make it relevant today, while reflecting its maker’s personal language and distinct hand, the LOEWE FOUNDATION aims to highlight the continuing contribution of craft to the culture of our time.”
Entries should: be original work, handmade or partly handmade; have been created in the last five years; be one-of a-kind; have won no prizes previously; demonstrate artistic intent.
The winning works will be featured in an exhibition and accompanying catalogue in Seoul, South Korea, in Spring 2022. The prize winner will receive 50,000 Euros.
An expert panel will review all entries and submit a shortlist of 30 finalists to a jury. The jury is composed of 13 leading figures from the world of design, architecture, journalism, criticism and museum curatorship, including Fanglu Lin, winner in 2021, who will select the winner of the 2022 Craft Prize.
Read the full entry requirements and apply via this link on the Foundation’s website (scroll down the page for the link to the rules).
Applications can be made until 25 October 2021.
The LOEWE FOUNDATION is a private cultural foundation based in Spain and established in 1988. It was launched by Enrique Loewe Lynch, a fourth-generation member of the LOEWE founding family. Under the direction of his daughter, Sheila Loewe, the Foundation continues to promote creativity, run educational programmes and safeguard heritage in the fields of poetry, dance, photography, art and craft. In 2002, the foundation was awarded the Gold Medal for Merit in the Fine Arts, which is the highest honour granted by the Spanish Government.
Image: Finalist entries from the 2021 LOEWE FOUNDATION Craft Prize.
British and Irish glass graduates who finished their courses in 2020 and 2021 are invited to submit work for the Contemporary Glass Society’s (CGS) next online exhibition, entitled “Graduates’ Work – the Next Generation”.
The show will run from 11 October 2021-20 November 2021. Act now because the deadline to submit is Monday 4 October at 5pm (UK time).
This exhibition aims to show the ingenuity and breadth of work that the next generation of makers has achieved during a very difficult period caused by the coronavirus.
Due to Covid 19 and the disruption of course work last year, all students graduating from a British or Irish accredited course in 2020 and 2021 are eligible to enter this show.
Selection for the show will be via submitted images. We cannot guarantee all work will be accepted, but we aim to include as many as possible.
In order to be considered for this exhibition, please send an image and a completed form (download form via this link).
Image requirements: (maximum width 1000 pixels) correctly labelled: Last name, First name, Title of work, Photo credit.
The British Society of Master Glass Painters (BSMGP) is celebrating its centenary in 2021, with a touring exhibition of its members’ contemporary stained glass panels.
The panels have all been made especially for the organisation’s 100th year and are travelling to different venues across the UK from September 2021 through to August 2022.
Over 80 stained glass artists, from the UK and overseas, submitted work for the centenary exhibition. There was no limit on style or materials, resulting in a great variety of subjects and methods. Some artists entered more than one piece, taking the total to over 100. Of these, 60 panels have been chosen for the touring exhibition.
First venue on the tour is the Stained Glass Museum at Ely Cathedral, where the 30cm square panels are displayed in the south-west transept on the ground floor, adjacent to the museum entrance. The show is on from now until 31 October 2021. Opening times are Monday-Saturday: 10am-4pm, Sunday: 12.30pm-3.30pm. Admission is free.
The tour continues at Winchester Cathedral (2-25 November 2021), moving on to Wells Cathedral (23 May-6 June 2022), the National Waterfront Museum, Swansea (Spring 2022), then to the International Festival of Glass, Stourbridge (26-29 August 2022).
If you cannot visit in person, you can view the 110 panels submitted to the centenary exhibition online at the BSMGP website via this link. You can also read the artists’ statements about their inspiration for their stained glass pieces. Some of the artworks are for sale.
The British Society of Master Glass Painters’ (BSMGP) long-standing Chairman, Caroline Benyon, died suddenly on 6 August 2021. Here BSMGP Vice-President Peter Cormack remembers her life and many achievements in the field of stained glass.
Caroline Margaret Benyon was born on 14 January 1948, the daughter of the artist Carl Edwards FMGP (1914-1985), who at the time was head designer of the Whitefriars stained glass firm.
Caroline attended the Convent of Marie Auxiliatrice in East Road Finchley, while also carrying out odd jobs in her father’s studio, established close to St Paul’s Cathedral in 1952.
In 1966 she enrolled at Hornsey College of Art to study silversmithing and design. She wanted to add an understanding of reflected light in three dimensions to her knowledge of transmitted light on glass.
Caroline left college in 1969, working for her father in the week and as a jeweller and silversmith in her free time.
In 1972 Carl Edwards relocated his studio to the Glass House in Fulham, which had been the studio of many women suffragist artists with whom Caroline strongly identified. While continuing to work for her father Caroline also cut glass for Moira Forsyth, in the studio that she once shared with Wilhelmina Geddes.
She married Tony Benyon in 1973, having met him at Hornsey College in 1966.
Over the next 15 years she developed her skills as a glazier, glass painter and designer. She made domestic stained glass for clients including the actor Michael Caine and the novelist Richard Adams.
Her father’s Great West Window, in Liverpool Anglican Cathedral – which was mostly painted by Caroline – was dedicated in 1979. At that time the American stained glass artist Rowan LeCompte commissioned Carl to make one of his designs for Washington Cathedral. Carl gave the job to Caroline and LeCompte presented her with a postcard-sized copy of his design and a tiny image of his work saying, ‘that’s how I paint, have fun’.
Carl Edwards died in 1985 and Caroline and Tony began working together full-time, restoring 19th century stained glass, as well as designing and making new windows. In 1992 they established their own purpose-built studio in Hampton-on-Thames.
Caroline’s first significant ecclesiastical commission was for the West Window of St Andrew’s Church, Romford, in 1993.
Her many commissions include the large West window for Edenbridge, Kent, and windows for St Albans Cathedral and the Temple Church in London, plus the OBE Centenary Window in the crypt of St Paul’s Cathedral (2017).
She was also an experienced heraldic designer, with three Field Marshal memorial windows in Sandhurst Chapel, plus armorial panels in Lincoln’s Inn Chapel and several City Livery companies.
Covid and problems with her eyesight interrupted her work, but these issues were resolved. Ironically, the last stained glass she made was this year, for the Apothecaries Hall, where her career began.
Worshipful Company of Glaziers
Caroline was also active at the Worshipful Company of Glaziers, joining in 1985. She sat on the Court for many years, chaired the Glaziers’ Trust, was vice-chairman of the Crafts and Competitions Committee and was involved in many initiatives that supported the craft.
British Society of Master Glass Painters
She joined the BSMGP in the 1970s and soon became a member of the Council. She was elected Chairman in 2000, when she was most active as a designer and craftswoman.
For over 20 years she strove to make the Society a friendly home for all those with a passion for stained glass, whether practitioners, conservators, historians, or enthusiasts. She oversaw significant conferences, exhibitions, the redevelopment of The Journal of Stained Glass, the creation of the current BSMGP website and social media, and much else to promote stained glass.
She will also be remembered for her meticulous planning of the BSMGP annual touring weekend conferences, which she made such engaging and informative experiences. Her commitment to stained glass, often in adversity, and the passion and commitment she gave to craftsmen and the craft she cared about so profoundly, will be her legacy.
Written by Peter Cormack MBE FSA HonFMGP, Vice-President, BSMGP.
Image: Caroline Benyon at work on a heraldic piece. Reproduced with permission from the BSMGP.
Donations in memory of Caroline Benyon can be made to the BSMGP Trust, which supports the charitable arm of the Society, by emailingsecretary@bsmgp.org.uk
Germany’s Bild-Werk Frauenau, a centre for art, culture and glass creativity, is holding a benefit auction of glass, ceramics, sculpture, print and painting on 3 October 2021.
The event is being held to raise funds to secure the survival of Bild-Werk Frauenau and the 96 objects offered in the auction have been donated by international artists.
The organisation states: “Our financial position after two Covid summers is desperate. So we invite you to view the exciting artworks for sale, and hope that you will buy wonderful new works that will grace your home, your business, or perhaps make a good gift!”
Artists, teachers and teaching assistants have contributed artworks for sale. The works come from all the different studios at Bild-Werk, including glass, painting, printmaking, ceramics and sculpture.
Many pieces have been made cooperatively by Bild-Werk teachers from different disciplines during academy sessions.
Bild-Werk has always represented UK glass artists and they are strongly reflected in the auction. The 10 UK artists, represented by 16 objects, are: Max Jacquard (kiln casting); Mark Angus (stained glass – British but living in Germany); Jazmin Velasco-Moore (wood print); Amber Hiscot (stained glass artist – watercolour); Emma Baker (blown glass); James Maskrey (blown glass); Juli Bolaños-Durman (assembled glass) Anne Petters (German living in UK – pate-de-verre) and Sue Woolhouse (blown graal), with Catharine Coleman (engraving) making a donation.
Those who attend the auction in person (starts at 2pm on Sunday 3 October 2021) will be greeted with Bild-Werk razzmatazz and will be able to meet many of the artists, as well as having the chance to bid for objects.
Those unable to attend can make written bids for their favourite pieces. The Bild-Werk team is available to help anyone who wants to bid in this way. The full catalogue, with images and details of the 96 works available, plus the bidding form, can be viewed online via this link: https://www.bildwerkfrauenau.de/benefit-auction-2021.html
Bild-Werk will celebrate 35 years in 2022, and the organisers hope to continue to offer innovative courses via creative academies for years to come.
Glass artist Stephanie Trenchard captures the essence of women artists from history in her striking glass designs, which are formed using sculpting, enamelling and sand casting. Linda Banks finds out more.
You are a painter by training and also a glass artist. What led you to start working with glass?
I pretty much married into glass. I had taken two classes with Joel Meyers as an undergraduate at Illinois State University. But it wasn’t until 1997, when we moved to Wisconsin to build a hot shop for my husband Jeremy Popelka, that it became clear that I, too, would be working with the magic medium. It would be easier to support a studio with two artists using the material.
What glass techniques have you used in your career and why do you have a preference for combining sculpture, painting and sand casting today?
I really like the miracles the happen with the glass while sculpting, when I begin to see a figure or a face looking back at me or an object that comes to life.
Painting on glass is also very important to my work. Narrative storytelling is what much of my work is based on.
I also do some decorative work with painting on blown glass that is fired or gathered over, some hi-fire and some low-fire.
I have recently begun to work with large blown figures that I paint with low-fire paint, and then reassemble hot. I like to experiment with different ways to use hand painting in glass art.
‘Hatted Woman’ (2021). Assembled blown and enamelled glass. Photo: Jeremy Popelka.
Can you tell us something about your methods? Do you draw your designs out or dive straight in with the materials?
I always start with a drawing, which I make as detailed as possible. When I create figures, it’s the posture and the details, like the way different fabrics fall, or a style of hat, that tell the story of the character. I also need to know that the object I sculpt will fit into the mould that I am intending to use, which is often the most challenging part.
You share a studio with your husband, accomplished glass artist Jeremy Popelka. What are the pros and cons of working together?
Hahaha! I’ll just say that there are definite pros and cons. We have been together for over 35 years. He is extremely supportive of my career and my work and he is always on the lookout for a new and exciting way for us to connect with the greater glass art community. We are very lucky in that we share our passion and responsibility for our business and careers.
You have taught your skills to many students over the years, even establishing the Bangkok Glass Studio in Thailand in 2017. How did that project come about?
I think glass is really special in that it brings people together in such a dynamic and immediate way in the milieu of the hot shop. We both love teaching and know that we always get so much more out of the experience that we can ever imagine. I have made great friends and associates through teaching and I wouldn’t give that up for anything.
Thailand was very exciting. We got an email in our Junk mail, which we just happened to stumble on, that was an invitation to come to Thailand and start a glass academy. At first we thought it was some sort of phishing, but we soon realised that it was not only sincere, but a marvellous opportunity. Two of our students there have since gone to Corning Museum of Glass to take classes. The Thai programme continues to thrive and we look forward to seeing our friends there again.
What is your favourite tool or piece of equipment and why?
I love my crimps and I have some medical tweezers that I use to take my stencils out of the sand that I would miss dearly. I love my casting shears. This is a tough question for me because I develop unnatural attachments to objects, especially tools. I am also really partial to palette knives for mixing my paints.
Your figurative art has a narrative quality. What message do you want to covey to your audience through your glass work?
Much of the work I do is about women artists from art history. I was dumbfounded at the lack of women represented in the art history texts back in the 1980s when I was in college. I am always cognoscente of the canon and how women and minorities are excluded.
I also like to make work that looks at the ephemera and material culture of the past and links together a poetic story. For instance, I made a piece about Virginia Woolf and her sister, Vanessa Bell, looking at each other while asking themselves, “What if I had made the choices she made?” One had a rich, full home life with lots of activity and people, the other had a life of much solitude and quiet. The former was not quite as well known, while the latter became massively famous for her work. What were the trade-offs?
With a curiosity about women artists’ experiences, and how they have navigated motherhood, I have created pieces about Louise Bourgeois, Louise Nevelson and Alice Neel, to name a few. Selfishly, I wanted to know how it was possible. Unfortunately, it was very difficult for many women, and these are the stories that I am interested in.
Do you have a favourite piece you have made? Why is it your favourite?
My favourite is always the one I am currently working on. I have just finished a commission for the Museum of Wisconsin Art, based on the life of the artist Ruth Grotenrath. I added extra floral elements into the casting which led to interesting dynamics in the glass.
‘Ruth’s Red Table, After Ruth Grotenrath’ (2021) . Assembled sand-cast glass with glass inclusions. Photo: Jeremy Popelka.
Where do you show and sell your work?
My work is at some wonderful US venues, including Habatat Gallery, Raven Gallery, Pieces, Tory Folliard Gallery and Edgewood Orchard Gallery. We also have a small gallery in our hot shop.
Do you have a career highlight?
That’s a tough question, because it has all been pretty miraculous to me. But if I had to choose just a few things, I would include my opportunity to give a keynote speech at the Glass Art Society meeting in Venice in 2018, and being a visiting artist at Corning Museum of Glass, in the Amphitheatre Hot Shop. Both events were really spectacular.
Recently we also offered an artist residency in our sturdio to Jaime Guerro, which was a magical experience for all of us. It felt like college again, so that was definitely a career highlight this year.
Who or what inspires you?
Stories and more stories. I love to read history and literature and learn about how people have lived and what they have done, especially women artists, wives of artists and patrons of the arts. I’m always looking for a poetic link to an aspect of these stories that interests me and is novel.
How has the coronavirus impacted your practice?
During 2020 we spent a lot of time building our new furnace, designed by HUB glass. I now know that my enamels do best when cast at 2175 F. I painted a lot of oil paintings and I focused on creative writing, mostly poetry, which I find very rewarding. We also started a small, local gallery that highlights the work of underrepresented artists in our community. We were pretty busy and, luckily, very healthy.
I am also very thankful to my wonderful assistant Chelsea Littman, who has been with us for over four years and helped me make all sorts of new, challenging work.
Read more about Stephanie Trenchard and her work via her website.
Main feature image: ‘5 Coated Women on the Precipice’ (2020). Sand-cast glass with painted inclusions. Photo: Jeremy Popelka.
Join contemporary glass group Just Glass for a seminar on creating patterns with glass in October.
Glass is a fantastic material for creating an amazing array of beautiful patterns. Ranging from the strictly geometric to the fluidly organic, glass artists incorporate pattern into their work in an incredible variety of ways using the form, texture and colours of the glass.
For the seventh in its series of biennial seminars, Just Glass has invited five internationally renowned glass artists to present on how they make patterns in their work. The speakers are Kate Jones, Rachel Phillips, Georgia Redpath, Ruth Shelley and Helen Slater-Stokes.
The meeting will take place on Saturday 30 October from 10.30am to 4.30pm at Conway Hall, 25 Red Lion Square, London WC1R 4RL.
Tickets are £37.50 (discounted to £31.50 for Just Glass members). Book via Eventbrite here.
Just Glass was formed in 2003 and comprises a group of over 50 established and emerging glass artists. Members’ work ranges from tiny, intricate pieces to imposing, large-scale works in glass, from domestic vessels to abstract sculpture.
Membership is open to makers of warm glass who have either studied or are studying, taught or are teaching warm glass, in an adult education institution in the United Kingdom.
Sign up now for the British Society of Master Glass Painters’ (BSMGP) Autumn webinar on stained glass in Australia.
The lecture, ‘Australia’s stained glass: Short History…Long Story’ will be presented by Dr Bronwyn Hughes on Friday 10 September at 7pm.
She will take viewers on a journey through a selection of stained glass windows installed in Australian architecture. She will explore British connections and influence from the 1850s onwards, as both countries were changed by depression, war and economic circumstances.
Stained glass, seen by many as simply decorative, was an outcome of society’s fluctuations and documents art, architectural, and religious history.
In this webinar, learn more about how the discovery of gold brought artists to enhance the building boom it spawned.
Glass artist Yorgos Papadopoulos became fascinated with the potential of glass after accidentally breaking a sheet of laminated glass and seeing beauty in the result. Now, 20 years later, his art still follows that trajectory; glass is his canvas and hammers are his brushes. Who is Yorgos? Read on to find out.
There is a famous laïko [Greek folk music] song with the title ‘I am Yorgos and I never sing…’ It describes a man who hasn’t found the strength to follow his passion. This is totally the opposite of Cyprus-born glass artist Yorgos Papadopoulos, who sings his way through all of life’s challenges, albeit often disrespecting the rules of pitch and harmony.
Unlike many artists, Yorgos was supported to develop his natural talents from a young age, particularly by his mother. She had had to give up her own artistic goals for a more ‘decent’ career, to be a good wife and mother. Later, when Yorgos successfully established an independent, self-sustaining art practice, he was generously supported by his family.
‘Eye of Confidence’.
Initially, Yorgos was most interested in ceramics. He stumbled into glassmaking literally by accident. When studying at the Royal College of Art (RCA) in London, where glass and ceramics are one department, he broke a piece of laminated glass. We don’t need to be superstitious to feel some sadness, or even anxiety, when glass breaks. It is generally considered to render the material useless and dangerous, either in reality, or metaphorically. But, for Yorgos, it revealed a kind of beauty.
Yorgos at work in his studio.
Through much experimentation from that point, Yorgos developed his technique of laminating art glass. At first, he mainly broke industrially laminated glass. He saw the creative potential of this type of safety glass, which has a plastic interlayer that keeps it together when broken. He learned how to make specific images or patterns in the cracks using different types of hammer. Although never fully in control of the breakage, he has developed a certain skill over the years to guide the effect he wants.
‘Faceless’. Photo: Jake Fitzgerald.
The duality between control and lack of control is best demonstrated in the artwork ‘Faceless’. Part of the ‘New Icons’ series, this image of the Virgin Mary did not have a face painted on, because the lines appeared naturally in the breakage. It is as though the work is ‘acheiropoieton’ – i.e. ‘made by itself’.
Sometimes Yorgos uses sandblasting to control the transparency of the glass. The broken sheets are then treated with inks, enamels, or gold or silver leaf. Here Yorgos manages to ‘pluck the daisies’ – to paraphrase the laïko song: from the simplicity of a piece of plain, broken glass he almost effortlessly creates a seductively beautiful image. The combination of layers and materials offers a whole world of options with which to play.
The artwork is laminated again, on one or both sides, to secure the image for posterity. The silicone gel used for this purpose is a good carrier of colours and textures, bringing a great deal of chance to how the art will evolve. There are many elements that determine the flow and curing of the gel, such as temperature, pressure and viscosity. It is this lack of control that excites Yorgos. And, if the result is not as good as he had hoped, he knows he can always put the hammer to it… Nothing is wasted.
This detail from ‘Eye of Resilience’ shows the depth of texture and colour that Yorgos loves.
Yorgos is greatly inspired by the Japanese principles of ‘wabi-sabi’, a way of living that focuses on finding beauty within the imperfections of life and peacefully accepting the natural cycle of growth and decay. In this way, he is fascinated by the setting of concrete, the cracking of paints and the stains of wear and tear on buildings and structures. It allows him to give his art a poignant message of healing beauty.
Yorgos is not protective of the unique techniques he has developed. In 2004 he published a book on lamination and in 2015 he gave a masterclass at the prestigious Pilchuck glass school, near Seattle, USA.
‘Eyes on Giverny’ glows with colour.
This year Yorgos’ work has been selected for the Larnaca Biennale and he is again representing Cyprus at the international glass biennial European Glass Context in Bornholm, Denmark. The work selected for this exhibition is called ‘Ripples of Time’ (illustrated in main photo, above). It analyses the principle of beauty and imperfections within the dimension of time. Ripples of Time consists of six panels which are hung as a timeline, at distances commensurate with certain significant dates in the life of the artist; dates when he is more reflective on life itself and its deeper meanings. It starts with the moment where, at the age of four, Yorgos and his family had to flee their home town of Famagusta because of the Turkish invasion.
‘Les Naïades Chantantes’ was created as an installation for a cruise ship.
With his most recent work, ‘Les Naïades Chantantes’, Yorgos shows his commitment to the spatial relevance of his art. He was commissioned to create something for the spa area on deck 9 of the new MS Rotterdam. This is the seventh cruise ship by that name that is being built for Holland America Lines. For this project Yorgos made six glass sculptures, consisting of two glass panels each, which are held in oval frames of marine grade, mirror polished stainless steel. The sculptures are individually lit from inside their bases and are positioned around a circular pool. The images in the glass link in such a way that it seems the sculptures are harmoniously singing together.
Soon Yorgos will be taking the spatial element of his practice literally to the next level by building the first real-world Reflectorium. This will be a room, primarily made using art glass, that will sit on top of his current studio, as though it has landed from outer space. The studio is situated in Kedares, which is a small and traditional Cypriot village in the foothills of the Troodos mountains. Nothing in this village has any serious appeal from a modern architectural point of view, but the Reflectorium will change that. Form will be independent of function, with a meditative chamber where art can be both experienced and imagined.
‘Eyes of Integrity’ with bezels.
Yorgos’s work has been sold around the world, from Hong Kong to Cape Town to San Francisco and anywhere in between. He is represented in London by Vessel Gallery and Railings Gallery, and in Cyprus by Alpha C.K. Art Gallery in Nicosia and Chakra Gallery in Paphos. For commissions on superyachts, cruise liners and airplanes he collaborates with Artelier in Bristol and ICArt in Oslo and Miami.
When Yorgos was graduating from the RCA, the external examiner asked him to define himself and his work within the wider context of the arts. Slightly baffled by the question, he spontaneously answered “I am Yorgos!” There is just no other way of defining him.
About the artist
Yorgos Papadopoulos was born in 1969 in Limassol, Cyprus. Following an Art & Design Foundation at Middlesex Polytechnic, London (1988), he took a BA (Hons) Interior Design at Middlesex University, London (1993), followed by a Ceramics Diploma – City Lit, London (1997) and an MA in Ceramics & Glass at the Royal College of Art, London (1999).
He has taught and lectured at art institutions in the UK and taught a masterclass at Pilchuck School of Glass, Seattle WA, USA, in 2015.
His work has been exhibited internationally and he has undertaken commissions around the world.
The CGS is pleased to announce that its collaboration enabling members to exhibit with the Biscuit Factory craft and design gallery is set to continue into 2022.
CGS members are invited to submit top quality glass work for the next quarterly ‘Best of the Best’ exhibition at this prestigious location in Newcastle’s cultural quarter. A maximum of five pieces can be submitted, the aim being to include up to three from each successful artist.
Between six and eight glass artists will be selected by representatives of the CGS and the Biscuit Factory for the next show, which has a closing date of 3 September 2021. The work will be on display between October 2021 and January 2022.
The Biscuit Factory welcomes submissions of all scales, including sculptural as well as functional forms (wall hung and plinth work). The gallery is particularly looking for contemporary examples of glass making, whether in technique, form or aesthetic.
The glass artists’ work will have visibility both in the gallery itself and online, via the Biscuit Factory and CGS websites and social media.
If you are not yet a member of the CGS, why not join now to take advantage of this, and many other exhibiting opportunities and benefits?
Download more information and the application form for submitting to this show via this link on the Noticeboard page.
Other collaborative exhibitions to follow in 2022 will run from: February to March; June to July and September to October. Therefore, if you have not got time to submit work this time, why not start planning what you will present for a later show?
Read more about the previous CGS/Biscuit Factory exhibition and featured glass artists here.
Image: Cube Gallery first floor at the Biscuit Factory. Photo: Graeme Peacock Photography.
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