The exhibition ‘1som/1het’ (meaning ‘lonely/unit’) opens at the S12 Studio and Gallery in Bergen, Norway, on 30 April 2021, showcasing the work of six artists.
This project was previously known as ‘Glass, gravity and growth’.
All of the artworks on show have been made in the S12 studio, and all of the artists have close links with S12, through artist-in-residence programmes, or as co-workers.
The main exhibitors in 1som/1het are Timothy Belliveau and Æsa Björk, both because they have more work in the gallery space and because of the close working relationship that they have developed at S12 during the Covid pandemic.
Even though there has been a great deal of frustration during this period, with many activities cancelled, the hardship has also provided a possibility to analyse the art produced and promoted.
All of the artists participating in this exhibition are unique and differ from each other in many ways, as their artworks demonstrate. However, all of them show a genuine interest in the human element, while at the same time exploring new techniques and new technology to transmit their ideas.
The exhibition displays objects and elements that are tied together literally and figuratively, while at the same time having their own identity and integrity. Geological layers, interwoven hoses, shrubbery and twigs in glass and rust, and children by the seaside with discarded rubber boots at the beach.
Æsa Björk depicts a visual analysis of a human whole, seen through a body scanned intersection, alongside sculpturally assembled, handcrafted elements of fused glass based on 3D-printed PLA (polylactic acid) moulds, in a subtle grid of carefully assembled, commercially produced glass canes.
Timothy Belliveau combines traditional glass blowing with 3D-printed visions of science fiction and hand cast geometrical polygons based on drawing and calculations made on his computer.
Ingrid Nord combines graphic and photographic art, reproduced in glass, while Ida Wieth’s artwork features blown, pulled, fused and cracked glass tubes combined with iron dioxin.
Verena Schatz’s art shows a bundle of hoses made out of crystal clear glass that looks like PVC, and not the other way around, floating in thin air, held up by rope.
Meanwhile, Emma Baker combines blown, cut and fused coloured glass in a contemporary object reminiscent of an old geological intersection from her local coastline.
The exhibition runs from 30 April until 6 June 2021, from 12pm to 4 pm, Fridays to Sundays.
S12 is an open access studio and gallery specialising in the use of glass in art and design. It has a workshop with qualified staff and specialist facilities, and welcomes artists and designers from all over the world.
Its artist-in-residence programme particularly welcomes those who like to experiment with glass in all its diversity, explore its boundaries and combine it with other materials.
S12 Studio and Gallery, Bontelabo 2, 5003 Bergen, Norway. Website: http://www.s12.no
The National Glass Centre (NGC) has announced its first European Glass Prize exhibition. Glass artists from across Europe, at any stage of their careers, are invited to submit work.
A distinguished panel will select work by about 40 artists, which, in their judgment, “reflects the finest contemporary practice in European glass”.
The chosen artworks will be shown at an exhibition at the NGC in Sunderland, England, which opens on 16 October 2021 and will run until 13 March 2022. There will be three prizes: a First Prize of £3,000; a Second Prize of £1,500, and a Third Prize of £1,000.
Selection Panel
The selection panel will include Sandra Blach, Exhibition Officer at Glasmuseet Ebeltoft, Denmark, Reino Liefkes, Senior Curator and Head of Ceramics and Glass at the Victoria and Albert Museum, London, England, and Julia Stephenson, Head of Arts at the NGC, Sunderland, England.
Criteria
In order to be eligible for selection:
Work must be made in or have a direct relationship to the medium of glass.
Work submitted must have been made after 1 January 2018.
Artists must be working in a European country (as listed under ‘Europe’ by the United Nations) at the time of submitting an application and it must be possible to collect work from, and return work to, this country.
Works must be delivered to the NGC by a date to be confirmed in September 2021.
Selected work must be available for inclusion in the exhibition until it closes in Spring 2022.
The artist must complete all points included in the application form.
Artists must submit one piece, or one group of works, taking into account that all artists must be equally represented within the exhibition.
NGC has limited capacity for suspending work and may be limited in its ability to display work owing to factors including size, weight and potential health and safety challenges.
Packaging and Transport
Each selected artist will receive a payment of £250 to support the costs of two-way packaging and transport, which, along with insurance while in transport, will be the responsibility of the artist.
Applications must be received by the deadline of 5pm on Friday 4 June 2021.
Look out for the latest Glass Network print edition, which is landing on CGS members’ doorsteps this month. Its editor, Kirsteen Aubrey, outlines what you’ll discover.
This edition focuses on collaborative practice, exploring various ways we share discourse, ideas, skills and practice.
In an interview with Luke Jerram we delve into the importance of concept in order to drive an idea, discovering methods that secure a long term, profitable collaboration for all parties involved.
Inge Panneels highlights the need for agility and adaptability through which to successfully navigate changes in circumstance.
Developing a partnership through studio sharing is addressed in Linda Norris’s feature, where we learn the importance of collage, friendship and humour to sustain creative collaborative practice.
Meanwhile, Amy Whittingham’s collaboration sees her welcome new challenges, collecting kelp in the sea and learning the art of furnace building, on a journey with artist Abigail Reynolds and glassblower Ian Hankey to create glass from scratch, using seaweed and sand.
Many artists work with galleries, collectors and museums, for the purposes of research, curiosity, or to showcase work. We learn how two organisations collaborate with artists; Chris Day shares how collaborative experience has proved a gateway to new platforms with Vessel Gallery, while the head of arts at the National Glass Centre, Julia Stephenson, explains a new initiative, ‘Glass Exchange’, that will enable four contemporary artists to develop concepts and large-scale commissions.
Each feature explores new ways to encounter and sustain collaborative practice, and hints at the challenges of which we need to be mindful.
This edition of Glass Network celebrates the opportunity, diversity and inclusivity that collaboration can bring to one’s practice.
Kirsteen Aubrey Editor, Glass Network
Look out for your CGS fundraising raffle tickets in the envelope with your Glass Network magazine. Read more about what contemporary glass prizes you can win and what the money will be used for here.
If you would like to read the full print edition of Glass Network and are not yet a member of CGS, you can sign up to join here. Additional benefits include access to weekly online presentations by glass artists, glass collectors and enthusiasts, discounts from glass suppliers and for training courses, exclusive member exhibitions where you have the opportunity to sell your work, plus your own dedicated gallery page on the CGS website.
Please note that the new website for Pearsons Glass (as advertised on the back cover of the latest Glass Network print edition) is going live in May 2021, so be sure to check it out then.
Feature photograph: (left to right) Collaborators Abigail Reynolds, Ian Hankey and Amy Whittingham at Kestle Barton in Cornwall. Photo: Otis Reynolds.
During the pandemic, we have all been asking each other the question, “How do you feel?” For our next virtual exhibition of members’ work, the Contemporary Glass Society (CGS) is raising the same enquiry with its members – but with a twist. Glass artist members are invited to answer the question of how they feel with their hands, to respond to the exhibition theme of ‘Texture’.
Texture can be defined as the tactile quality of an object’s surface. Within art, it can appeal to our sense of touch, which can evoke an emotional response. Texture is the feel, appearance, or consistency of a surface. It is usually described as smooth or rough, soft or hard, coarse or fine, matt or glossy.
Just like 3D forms, texture can be implied or real. For example, texture can be created through cutting, building, tearing or layering of materials.
This online exhibition will be curated, with selected work displayed in an online exhibition on the CGS website and available for sale. All CGS members, both international and UK-based, are eligible to enter. Entries must not have been shown in other CGS virtual shows.
Work will be chosen from submitted images, so please ensure your image is top quality.
The show will run from 8 May to 9 June 2021 on the CGS website.
What textures are you inspired by, or what textures inform your work? Now is your chance to take up the challenge and submit your glass work on the theme of Textures. As mentioned, this is a CGS members only exhibition. If you are a glass artist and not a member yet, join us today for the opportunity to take part.
Submission deadline is 26 April 2021. To enter, log in to your profile and select the ‘Submit to Exhibitions’ tab, open a new exhibition window, then select ‘Textures’ from the Exhibition drop-down menu.
Claire Kelly has a mastery of glass cane and murrine techniques, with which she creates magical, safe worlds that highlight the fragility of nature. CGS Glass Network digital’s editor, Linda Banks, finds out more.
What led you to start working with glass? The art school I attended, Alfred University (1992-96), has a glass programme. Once I was able to start taking studio classes in glass I was a goner. It was just so exciting and rare. After I graduated, I continued my glass journey as an intern at the brand new Studio of the Corning Museum of Glass. I was still such a newbie, but I knew that this was the path for me and I have continued finding ways to be in the glass studio ever since.
Claire Kelly demonstrating her animal sculpting skills at the Corning Museum of Glass.
What glass techniques have you used in your career and why do you have a preference for the methods you use today? Bold patterns are the signature of my work. I integrate cane and cold working into a mosaic-like process that maximises the effects of densely coloured components to create my patterns and colour combinations. Early on, I had seen cane work in shows and museums by notables like Dick Marquis and Dante Marioni. I was just so struck by the kinds of patterns they were making and how juicy the colour looked when applied this way.
Claire Kelly is happy to spend hours chopping up glass cane for her mosaic designs.
It was later that I began to understand the origins of glassmaking and that cane and murrine are so ancient. As my work progresses, I never seem to tire of using cane as a starting point. I love everything about the process and possibilities. Even some of my animals, that don’t look like cane-work (the foxes), actually are.
The stages of glass mosaic creation for the piece ‘Recursive’.‘Recursive’ (2020). Glass: blown mosaic.
Can you tell us something about how you developed your glass working methods? Do you draw your designs out or dive straight in with the materials? I give a ton of credit to my first real assisting job for a glass blower in Vermont, Robin Mix. He worked in cane and murrine in a way that was unique among small studio glassblowers. It was while working for him that I really began to develop the skills and techniques that I employ now in my work. I can’t overstate how valuable it is to work for another artist. Even if it’s not similar to the work you want to make yourself, it establishes artistic practices that will carry you forward when making your work.
I only began drawing regularly when I began my body of work with patterned glass animals in 2014. I wasn’t able to access hot glass very often, so drawing was my outlet and focus. It gave me a place to get my ideas on paper and then also a to-do list once I was in the hot shop. I discovered what a stress release drawing is, and now I employ drawing as a matter of course for my artistic practice. Plus – it’s free! Everyone should draw, all the time. The sillier the better, in my book.
What is your favourite tool or piece of equipment and why? I have two. One hot, one cold.
My new favourite tool in the glass studio is the hot torch. When I began blowing glass it wasn’t so common to have a torch on hand, except perhaps to fire-polish punties. So it wasn’t a tool I was used to. Then, when I began designing my animals, I struggled to realise them the way I wanted. I decided to get some help and took a class with Raven Skyriver and Kelly O’Dell. There I was able to really learn what the torch was capable of. It would have taken me ages to make those breakthroughs on my own. So, I was thrilled when the elephants began to actually look like my drawings.
My other, and true favourite, tool, is my diamond saw. I use it for everything, but it gets the bulk of its use cutting up cane for my mosaic patterns. I pop on my headphones, listen to a book on tape, or podcasts, and slice glass for hours. I bought the saw in 2001 and it’s travelled up and down the east coast of the United States a few times.
Claire Kelly cold working a glass sculpture.
What message do you want to covey to your audience through your brightly coloured glass work? I often say that my work is a reminder to care. I make sculptures that tell a story about the fragility of these creatures illuminated by innocence and play. I have provided them a universe where they are free of constraint and thrive with beauty and design. Where my work stands out for its technical acuity, it also has an aesthetic that is whimsical, fun and approachable. This pairing is attractive to audiences from varying perspectives and is a factor in my work’s impact. My glass landscapes and animals are advocates for the precious worlds they represent.
‘Poetic License’ (2020). “Freedom to depart from the facts”. Created from blown, sculpted, and assembled glass.
Where do you show and sell your work? I work with select galleries to exhibit my work in the US and Canada. I’m very fortunate to have a relationship with wonderful representatives that work very hard to promote glass art and to find an audience for their artists’ work. Once or twice a year, I participate in retail venues such as the Philadelphia Museum of Art Craft Show, that give me the opportunity to meet and talk with collectors and art enthusiasts in person. I also sell one-of-a-kind work on my website that is not available through my galleries.
Do you have a career highlight? I was selected to be an Artist in Residence at the Studio of the Corning Museum of Glass in 2017, which I used to create a new body of work using glass from Effetre, a glass company based in Murano, Italy specialising in coloured glasses. As a direct result of that residency I was selected to be a demonstrating artist at the Glass Art Society Conference in Venice, Italy in 2018. The demonstration was at the Effetre factory on Murano and, while I don’t speak Italian, I was able to ask for all the colours I wanted to use by their Italian names. Being chosen for such a seminal conference was really special and it connected me to the history of glass making in a way that I felt in my bones.
[Watch ‘Domine’ being created in a livestream demonstration at the Corning Museum of Glass on YouTube here]
‘Domine’ (2020). Blown, sculpted and assembled glass. String created using Effetre glass from Italy.
Who or what inspires you? Inspiration can come from an uncomfortable place. For me, that was my anxiety and fear caused by the uncertain future of our planet. I found inspiration in my art practice and used it to pull myself out of that dismal state of mind.
The result was my first blown glass elephant, situated on a fantastic landscape. This refocused energy creates a cycle for me to process my mental and emotional health and I view it very much as a form of therapy. Many of my recent works are about perception and, in particular, the need to move away from a human-centric view of the world. I have been inspired by fables and added to my menagerie of animal figures to illustrate my tableaux.
‘Circumstellar Pink and Lime’ (2020). “Circumstellar: surrounding or occurring in the vicinity of a star”. Glass: blown, sculpted, and assembled.
How has the coronavirus impacted your practice? I just got my first shot of vaccine as of this writing – The next will be coming soon! During the depths of the pandemic, I finally invested the time and materials to pursue a facet of glass making that I had wanted to try for a while, namely beading. I learned how to make woven bead tapestries and I am slowing learning to turn those into three-dimensional objects. It’s still very new and I don’t know where it will end up, but I love doing it and find it as soothing as drawing. I went down a fun rabbit hole online trying to find out how seed beads are made. Turns out they’re quite secretive about it…
Beaded snake, by Claire Kelly.
If you’re interested in keeping up with news from her studio, Claire Kelly invites you to visit clairekellyglass.com and you can join her mailing list here. You can also follow her on Instagram and Facebook at Claire Kelly Glass.
About the artist Claire Kelly graduated with a Bachelor of Fine Arts from Alfred University in 1996. In 2004 she was granted the EnergyXchange fellowship in Burnsville, North Carolina. In 2008 Claire moved to Providence, RI to work with acclaimed glass artist Toots Zynsky. She has been an instructor at Penland School of Crafts, Pilchuck Glass School, the Pittsburgh Glass Center, The Studio at the Corning Museum of Glass, Haystack Mountain School of Crafts, and the Centro Fundacion del Vidrio in Spain. She has been a resident artist at the Pittsburgh Glass Center and received the Rosenberg Residency at Salem State University in MA.
Her work is on show at major institutions and galleries in the United States and worldwide, including a collaborative sculpture commemorating the 30-year anniversary of the conclusion of the liberation of Kuwait.
She relocated to Corning in late 2020, where she creates her work using the glass blowing facilities of the Studio at the Corning Museum of Glass.
Main feature image: Claire Kelly’s ‘Parallax: Busy Forest’ (2019), created from blown, sculpted and assembled glass.
The sixth edition of the Craft Glass Creation & Design International Competition and Exhibition is set to take part in China from 10 December 2021 to 15 January 2022 and glass artists are invited to submit images of their work for consideration by the event committee.
The event is organised by the Fine Art College of Qinghua University, China Handcraft Association and Hejian City Council.
Application is by the submission of 300dpi digital photographs of between three and 10 artworks. Based on these images, glass artists will be selected to show their work in China, with the chance to win many prizes.
Selected artists will have their work shipped to China, with shipping costs covered by the committee. Prize winners will also be invited to attend the opening of the exhibition, with air fares paid for by the committee.
The submitted works will be auctioned by the committee and Government in December. Last year, many international artists’ artworks were bought by the City Museum and private collectors during the auction.
Prizes: A Special Gold Medal + a car 5600 GBP First Medal x 888 GBP/each Second Medal x 444GBP/each Third Medal x 267 GBP/each Good work medal x several,177GBP/each
All the awarded work will receive a certificate and trophy and be included in the art auction.
To enter the competition, send your contact details plus three to10 images (300dpi) of three to 10 pieces of work, along with details of the size of the artworks, and titles, to this email address: interglasschina@163.com. All work must have been made since 1 January 2011.
The deadline to submit entries is 16 August 2021.
For further information please contact Ms. Zhao, Associate Professor in Guangdong Polytechnic Normal University, on email: interglasschina@163.com .
Image: Mr Weijiang Yin speaking at the 5th edition of the event.
All contemporary glass students graduating from a British or Irish accredited course in 2020 and 2021 are eligible to enter the 2021 Graduate Prize, with the opportunity to be featured in the CGS’s New Graduate Review publication and an online exhibition on the CGS website. Graduates from both years can take part, as the 2020 prize was cancelled owing to the pandemic.
As we emerge from an exceedingly difficult year, the CGS wishes to support graduates at the beginning of what we hope will be long careers in glass making.
The Glass Prize offers prize bundles of cash, vouchers, CGS memberships, subscriptions and books, alongside the chance to be featured in the 16-page New Graduate Review, which will be circulated widely to colleges, museums and CGS members. It will also be distributed in the prestigious Neues Glas – New Glass: Art & Architecture publication, which has a worldwide circulation, providing valuable publicity for new graduates.
There will be one winner, one second prize, two runners-up prizes and several commendations, and the selected work will be showcased in the New Graduate Review, as well as being featured in an online exhibition on the CGS website.
Prizes The first prize includes:
£500 cash
£200 vouchers from Creative Glass UK
A promotional package, including cover & feature in the New Graduate Review
Two years’ CGS membership
A year’s subscription to Neues Glas – New Glass: Art & Architecture magazine
a selection of glass-related books from Alan J Poole.
Second Prize
£150 cash
£100 voucher from Warm Glass
One year’s membership of CGS
A year’s subscription to Neues Glas – New Glass: Art & Architecture magazine
2 x Runners Up
£50 voucher from Pearson’s Glass
One year’s membership of CGS
A year’s subscription to Neues Glas – New Glass: Art & Architecture magazine.
Applications close at 5pm (UK time) on 12 July 2021. Submissions must be made digitally and comprise a completed application form and digital images.
A panel of experts will select the winners and the decision will be announced on 1 August 2021.
CGS is grateful to all the sponsors for this year’s prize, including: The Worshipful Company of Glass Sellers of London Charity Fund, Professor Michael Barnes MC FRCP, Creative Glass UK, Pearsons Glass, Warm Glass, Neues Glas and Alan J Poole.
Contemporary glass made by glass masters from Europe and America will go under the hammer at an auction to be held on 30 April 2021 in London. The sale of glass, from a private European collection, offers glass collectors and enthusiasts the chance to acquire studio glass by renowned glass practitioners, such as Lino Tagliapietra, Dale Chihuly and Toots Zynsky.
This contemporary glass auction is part of the ‘Modern Made: Modern Art & Post-War Design’ auction, which will take place at the Mall Galleries in London, with online bidding. The collection is offered by fine art and antiques auctioneers, Lyon & Turnbull.
The studio glass movement’s origins are rooted in the 1960s. Proponents of this school aimed to move the production of glass from an industrial process to individual workshops with the focus on glass objects as works of art. Today it is a revered and a much-collected international art form.
The collection, to be sold in 33 lots, forms part of a 60-lot selection of modern and contemporary glass from three vendors that begins with a 1962 vase by Fulvio Bianconi (1915-96) and closes with two large vases made by Massimo Micheluzzi (b.1957) in 2005.
The name Lino Tagliapietra (b.1934) epitomises everything that studio glass movement stands for. The Italian maestro qualified as a maestro vetraio (master glassmaker) in his early 20s and enjoyed 30 years working alongside the leading glass manufacturers in Murano before pursuing his path as a studio artist from the late 1970s. The auction contains 14 works by Tagliapietra that span a decade in his career from the mid 1980s to the mid 1990s. Estimates range from £1500-2500, for a 41cm hand-blown battuto glass vase, to £6000-8000 for a slightly larger vase signed and dated Murano 1985.
Vase by Lino Tagliapietra.
Two typical Dale Chihuly (b.1941) works, Baskets (a group of six graduated yellow and burgundy vessels from 1992) and Sea Form (a three-piece form in blown clear glass inlaid with white lines, from 1985), will feature in the auction. They carry guides of £8000-12,000 and £2000-3000, respectively.
‘Baskets’ by Dale Chihuly (1992).
Other well-known American glass artists represented include William Morris (b.1957) whose Artifact Tooth from 1993 is £4000-6000 and Steve Tobin (b.1957), whose monumental 2.1m white glass and steel Cocoon, 1990-1995 sculpture, is £3000-5000.
Equally recognisable are the creations of Toots Zynsky (b.1951), best known for her super-colourful thermo-formed vessels using the filet-de-verre technique, and the dreamlike forms of Tennessee glassblower Richard Jolley (b.1952), creator of the massive glass-and-steel assemblage in the Great Hall of the Knoxville Museum of Art. Two pieces by Zynsky from 1994 are guided at £6000-8000 each, with three pieces by Jolley including the 55cm high Visionary, 1992 on a bronze and marble base (£4000-6000).
Born in Tokyo, Yoichi Ohira (b.1946) has spent the greater part of his career in Venice, combining the bright colours of Muranese glass with the restrained forms of Japanese applied arts in his work. After holding the position of artistic director at Murano’s de Majo glasswork, in 1992 he became an independent artist. His diminutive 1995 bowl, signed for both Ohira and the master glassblower Livio Serena, is expected to sell at £4000-6000.
‘Boat’ by Bertil Vallien for Kosta Boda.
Swedish glass artist Bertil Vallien (b.1938) is represented by six works – a series of unique sculptures made for the Kosta Boda glassworks in Småland (estimates from £1500-4000). Vallien’s work is often deeply symbolic, with sand-cast boat forms his best-known creations.
The collection can be viewed in the online catalogue via this link and through personal appointment at The Mall Galleries in London from 27-30 April. The auction begins at 10am (UK time) on 30 April 2021.
Main feature image: Toots Zynsky’s Vessels, dating from circa. 1994.
Don’t miss to opportunity to win contemporary glass sculptures by some great names in glass in the CGS prize raffle. In 2022, the CGS is celebrating its 25th anniversary and money raised from ticket sales will support a packed programme of glass-related events through the year.
On offer in the draw are 12 fabulous prizes, including ‘Thrower VI’ by David Reekie, a signed sketch on a napkin by Dale Chihuly (donated by Alan J Poole), plus ‘Turquoise Glacier’ by Peter Layton.
There are also prizes generously donated by Gillies Jones, Aneta Glowacka, Jacque Pavlosky, Linda Norris, David Frazer, Janet Wheeler, Dr Linda Smith, Myra Wishart and Paul Mellor.
This Monochrome Abstract Landscape by Gillies Jones is one of the raffle prizes.
CGS members will be receiving books of raffle tickets in the post with their print edition of Glass Network, but if you want to buy some (or some more!), please contact Pam on admin@cgs.org.uk . Tickets are available in books of five and priced at £2 per ticket. Buy some yourself and sell them to your friends!
This is your chance to win a piece of collectable contemporary glass, or a unique sketch by Dale Chihuly, while raising money that will help CGS support glass artists and makers for another 25 years.
The draw will be held on Sunday 4 July 2021 at 4pm (UK time).
Main image: (left to right) ‘Thrower VI’ by David Reekie; detail of a signed sketch on a napkin by Dale Chihuly (16 x 15cm); ‘Turquoise Glacier’ by Peter Layton.
The CGS is pleased be continuing its partnership with The Design Trust, the online business school for creative professionals, to offer two online courses at a special rate to CGS members. These are ‘Start to sell online’ and ‘Sell more online’.
‘Start to sell online’ is a six-week online course and accountability group, taking place on Tuesdays 25 May, plus on 8, 15, 22 June, and 6 July 2021, from 10am-1pm (UK time).
This online course is designed for creatives at any stage of their career who want to launch their first website or online shop within 6-8 weeks. It is an action-taking programme with three core workshops that will help you to plan your website and brand in detail and then launch your website by early July.
You will be expected to spend around eight hours each week on your own website planning, writing, photographing and launching. There will be loads of practical homework suggestions to help you. You will also get access to the Design Trust’s private online website where you will be able to access all the course materials, network with the other participants, and ask questions.
If you have tried to launch your own website for the last few years but have struggled, this course will help you to make the right decisions and take the right steps towards launching it before the summer.
This course is hosted by Patricia van den Akker, the Director of The Design Trust and an award-winning creative business adviser.
It will be unlikely that we will be running this course again this year, so if you want to launch your website this year, do sign up.
This course is normally £195, but there are 20 discounted spaces available for CGS members, who can get £70 off and only pay £125 (incl. VAT). Members should email Pam on admin@cgs.org.uk to get the special promo code and take advantage of this great deal.
You can find all the details about the ‘Start to sell online’ course, and book, here.
‘Sell more online’ course
The other course on offer is ‘Sell more online’. This online course and accountability group is aimed at creatives who have a website or Etsy shop and want to improve their website, get more visitors and, ultimately, more online sales, orders, commissions or bookings.
It comprises three practical workshops taking place on Fridays, on 30 April, plus 14 and 28 May 2021. There will also be a group review of the websites of five participants on 11 June 2021. Each session runs from 10am-1pm (UK time).
Sessions will focus on making your website better and your branding more ‘you’, followed by getting more visitors to your website and driving traffic with key words, email marketing and social media plus more traditional marketing techniques. The third workshop will focus on how to turn visitors into buyers.
The final session will be a group website review and five websites will have an expert review with Anne-Marie Shepherd, the Design Trust’s Business Club and Social Media Manager.
This is an action-orientated course so be prepared to put in around four hours each week to improve your website and to get more online traffic, interest and sales.
This course is normally £149 but there are 20 discounted spaces available for CGS members, who can get £50 off and pay only £99 (incl. VAT), or pay £189 for the course and a private coaching session (normally £239). Email Pam on admin@cgs.org.uk to get the special promo code.
Read all the details about this course, and book, here.
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