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.
The Guild of Glass Engravers is inviting applications from UK and overseas students for ‘Making Your Mark’, an Instagram-based exhibition with two prizes.
Making Your Mark aims to showcase the range of engraved glass works being created today, highlighting technical achievements and creative flair.
The Guild of Glass Engravers states, “We want to remind people why engraved glass is a much-loved craft and inspire people to collect, view, discuss and make engraved glass objects.”
The Guild is looking for works made by current students that have been made by hand, utilising craft processes. However this can include digital technology if used as a craft tool, not a means to an end. These works will ordinarily be either ‘one-offs’ or limited editions.
This is an opportunity to present experimental and finished works and to provide inspiration, as well as contributing to the discussions around contemporary glass engraving.
All students enrolled in a course of more than 15 hours tuition per week term time will automatically be entered for the prize, as long as their work meets the following criteria: submitted work must include surface decoration on any piece of glass, using either diamond point or handscriber, drill, sandblast, acid etch or wheel engraving. Graal techniques are admissible.
There is no age limit for applicants and they do not have to be studying glass to apply.
Two winners will be selected for the David Peace Prize, endowed by a bequest from the estate of founding member of the Guild, the late Dr David Peace MBE, and a bursary from his family.
David Peace was noted for his lettering on glass and believed in encouraging young talent in glass – not only in the field of lettering, but also figurative and abstract artists.
The first prize will be £500, and the second prize £200. Both prizes include free student membership of The Guild of Glass Engravers for one year.
Selection will be made via submitted images of work. Applications should be made by the deadline of 21 May 2021.
Carol Milne uses lost wax glass casting to create intricate, knitted art that celebrates the process of making. Here she speaks to Glass Network digital’s editor, Linda Banks, about her career to date and the thinking behind her work.
What led you to start working with glass? I thought it would be fun to cut myself… Just kidding!
After college, I moved to Seattle, Washington, USA. One day, I was driving between Seattle and Vancouver in Canada, and saw a sign on the side of the highway for an open house at Pilchuck Glass School. (This was back in the days when their open house was a drop-in event for the general public). I had recently discovered Dale Chihuly, and had heard of Pilchuck, so I decided to stop in. WOW. The place and the material enchanted me.
Even though I’d seen flameworkers in Venice, I’d never thought of glass as a material I could actually work with. Back then, I couldn’t afford classes at Pilchuck. I didn’t know glass was something you could study in college, so I went off to pursue a master’s degree in sculpture (never completed), where I did some mostly unsuccessful experiments in glass on my own. It wasn’t until years later that I seriously began my studies in glass (at Pratt Fine Arts Center in Seattle).
Carol Milne combines her loves of knitting and glass in this piece, called Harikari.
What glass techniques have you used in your career and why do you have a preference for cast glass today? Stained glass was my ‘gateway drug’. I used it to make traditional panels, but I also combined it with concrete for flat and 3D mosaic sculpture, and I cast iron around pieces of glass in experimental sculpture.
When I studied at Pratt, I was especially drawn to hot glass. I started with hot casting glass, ladling molten glass out of a furnace into bentonite sand and, later, resin-bonded sand moulds. Resin-bonded sand gives a more 3D result, but the moulds themselves give off smelly, if not downright toxic, fumes when hot glass is poured in, and as they cool in the annealer. Since I was using a public facility, that meant I had to switch directions.
Although I hated giving up hot glass, I started kiln casting because I knew it was something I could do at home. I got hooked because every day I open a mould is like Christmas – always a surprise, and never quite what you had been expecting.
Carol Milne opening Cocoon. Photo: Steve Isaacson.
Can you tell us something about how you developed your special glass working methods for your signature ‘knitted glass’? Do you draw your designs out or dive straight in with the materials? The major problem with cast glass is its WEIGHT. I have been a knitter since I was 10, and the sprue wax I was using for bronze casting reminded me of yarn. I wanted to knit with it, and cast it in glass – for the fun of it – with the added bonus that my cast glass sculpture could be lighter. It did take a lot of trial and error to get it to work, because glass doesn’t want to do what I want it to do.
Drawing has never been my forte. I studied with David Reekie at the Penland School of Crafts, and was in awe of his ability to draw and translate his drawings into glass. Mostly, I just work and play with materials. Sometimes I have an idea of where I am going, but often I surprise myself. The important thing is to keep at it, even when inspiration is in short supply.
The installation Viper is 40 feet long. Find out more about this piece in the video link. Photo: Jasmine Isaacson.
What is your favourite tool or piece of equipment and why? I couldn’t live without my cordless power drill, or my encaustic soldering iron (which doesn’t overheat the wax), but my favourite tool is a nameless, stainless steel, concrete working tool. One end has a flat pointed triangle, the other end has a flat rectangle. Amazon calls it a Bon Tool Trowel and Square, a 1-inch Italian Ornamental Trowel. I use it mainly for wax working.
What message do you want to convey to your audience through your glass work? Art is a tricky medium for conveying messages. It is enough for me to surprise and delight my audience, and to sometimes make them look twice.
But I also think my knitted glass work encompasses three main ideas:
Life is fragile;
We are interdependent and require others to make something bigger than ourselves;
Don’t judge a book by its cover – appearances can be deceiving.
Sometimes I touch on deeper social or political issues; I do have strong opinions. But when I do, I try to get to the universal, not the specific. Art that expresses views about a specific politician is rooted in time; I aim for the timeless.
Blue me Away. Watch the videos to see more about Carol Milne’s processes.
Do you have a favourite piece you have made? Why is it your favourite? My favourite piece is usually the one I am working on, since I am much more about process than the actual finished work. That said, my piece, ‘Cozy’, is certainly resonating with me right now. It was created in 2012. It is of a seated clay figure, with her knees drawn into her chest, who is surrounded by a glass tea cosy (modelled after a tea cosy my grandmother used to have). There were certainly no thoughts of a pandemic on my mind in 2012, but now, when I look at the piece, that is all I see. Perhaps that shouldn’t be a reason for it to be a favourite right now? I am fascinated by how our circumstances affect how we interpret a work of art.
Carol Milne’s Cozy was made in 2012 but has resonance today.
Where do you show and sell your work? There aren’t many in-person shows going on right now, but my work can be found in the following galleries, most of which are open by appointment: Blue Spiral 1 Gallery, Asheville, North Carolina; Chasen Galleries, Sarasota, Florida; Culture Object, New York, New York; Kittrell Riffkind Art Glass, Dallas, Texas, and the Museum of Glass Store, Tacoma, Washington.
Do you have a career highlight? That I am still a working artist after 30 years, perhaps?
I had a solo show at the Bainbridge Island of Art in 2019. It was supposed to be up for three months, but it was so well received that it kept getting extended. The show was up for nearly nine months and three of the pieces in the exhibition were acquired by the museum.
Art is a form of communication and, without an audience, you’re just navel gazing. It was affirming to realise I have an audience. Maybe I’m not wasting my time after all!
Who or what inspires you? Surprisingly, this is a difficult question for me, and it’s all about semantics. In the art world, inspiration and influence often go hand in hand. I am inspired by the work of many artists, but I try not to be influenced by them in a direct way. Art needs to be a conversation, one that builds on what has come before it and alters it in some way. My top five artists who inspire me are: Antonio Gaudi, MC Escher, Dr Seuss, Ruth Asawa and Buckminster Fuller. Also, I draw inspiration from music, puns, crafts, and current events. And I admire many of my fellow creators.
Carol Milne’s String into Action, inspired by M C Escher’s idea of hands drawing themselves.
How has the coronavirus impacted your practice? Fortunately, my studio is at home, so my work has continued. But my teaching and travelling have disappeared. The upside is that I have had time to finish projects that were on hold. I’ve also had time to research and experiment with LED lighting and fibre optics. Learning Zoom has also helped me to reach people I wouldn’t have before.
And, for those of you who love virtual chats, I’m planning to host a virtual artist’s booth in the Glass Art Society (GAS) market during the online conference in May. I don’t see it as a selling event, but more as a way to connect with people in a small group setting. I’m not much for large gatherings, but with nearly a year of social distancing, I do miss conversations. Please stop by and introduce yourself! I’d love to meet you.
Carol Milne’s Teabird.
About the Artist Carol Milne received a degree in Landscape Architecture from the University of Guelph, Canada in 1985, but realised in her senior year that she was more interested in sculpture than landscape. Her senior thesis, “Landscape as Art/Art as Landscape,” drew her into the realm of sculpture and the die was cast. She attended two years of graduate school in sculpture at the University of Iowa, and has been working as a sculptor ever since.
In 2000 Carol took her first glass class at Pratt Fine Arts Center in Seattle. She began kiln casting in 2002, and in 2006 became the lone pioneer in the field of knitted glass. Pushing the limits of glass through persistent and relentless experimentation, she developed a variation of the lost wax casting process to cast knitted work in glass.
She travels worldwide to teach workshops. The most exotic places her art has taken her to are Istanbul, New Zealand and Tasmania. She also teaches extensively in the US, which she will resume once the pandemic is under control.
Carol exhibits her work throughout the US. It is in the collections of the Notojima Glass Art Museum in Ishikawa, Japan; The Asheville Art Museum, in Asheville, NC; the Kamm Teapot Foundation in NC and the Glasmuseum Lette in Coesfeld, Germany.
Recent honours include two Honourable Mentions at Cheongju International Craft, Korea, and an artist’s residency at Amazon Headquarters in Seattle.
These three bright stained glass ‘Shields of Light’, created by CGS member Surinder Warboys during lockdown in 2020, have been donated to the Cambridge University Hospitals, Addenbrooke’s and The Rosie. They are now on display in a peaceful corner of the public Rosie Garden.
Surinder explains: “Our most familiar world became strange and dangerous as a result of the colourless, unseen presence of Coronavirus in March of 2020, necessitating a nationwide lockdown. During this time, images of NHS staff wearing personal protective equipment (PPE) became iconic symbols, and yet many were having to manage with inadequate, or no, PPE.
“The glass shields were forged with a great sense of urgency, during April and May 2020, using only the materials available to me during lockdown. They were a gesture of thanks and a metaphor for the life-risking work being done by others – in particular in our National Health Service.
“The irony of using fragile glass for a shield was pointed out to me at the time. But these shields are shields of light. The light interacting with them has travelled 93 million miles and is continually being renewed.
“Due to certain properties in the ‘antique’ glass, known as metal oxides, only the colour we see is transmitted; all the other colours are absorbed by the shield, or that particular part of the shield. For example, in the orange section, all the colours of the spectrum are captured by that section, except for the orange, which is allowed to pass through, so we experience that section as orange.
“This is the first time my work has been displayed in the open air. When I had completed the glass shields, I photographed them on Mellis Common, against the open sky. I saw that the sky, clouds and landscape transformed, and integrated with, the work. So it is serendipitous that they are now being displayed outdoors at Addenbrooke’s.”
The fifth Venice Glass Week is set to take place for an extended period between 4 and 17 September 2021.
The 2020 event featured over 180 initiatives related to glass, both online and in the city, around Venice, Murano and Mestre, in Italy.
Among many events scheduled for 2021, Venice Glass Week will collaborate with the annual event, Homo Faber: Crafting a more human future, which will be held on the island of San Giorgio Maggiore from 9-26 September.
If you wish to submit a proposal for an independent event, or to be considered for inclusion in the Venice Glass Week HUB, you need to submit your application by 9 April 2021 via this link: https://www.theveniceglassweek.com/en/applications/ . The organisers welcome applications from any Italian or international organisation or individual wishing to propose an event or project relating to artistic glass, such as exhibitions, conferences, performances, workshops, themed dinners, guided tours, or activities for children.
The Venice Glass Week HUB, held at the Istituto Veneto di Scienze, Lettere ed Arti in Palazzo Loredan, will not only host a selection of glass installations by national and international artists, but will also have a dedicated space on the ground floor featuring glass artworks and projects by Italian and international artists and designers aged 18-35. Exhibitors in this HUB Under35 category will be automatically considered for the second Autonoma Residency Prize, promoted by LagunaB through the Autonoma project, in association with Pilchuck Glass School. The winner will receive a two-month Artist Residency at Pilchuck Glass School, Seattle, in 2022.
All applications will be reviewed and selected by a Curatorial Committee, chaired by the Venetian glass historian Rosa Barovier Mentasti, and composed of international glass sector experts, including new members Rainald Franz, Head of the Glass and Ceramics Collection at MAK-Austrian Museum of Applied Arts/Contemporary Art, and Susanne Jøker Johnsen, Head of Exhibitions at The Royal Danish Academy – Architecture, Design, Conservation and Director of European Glass and Ceramic Context on the island of Bornholm in Denmark. They will be joined by curator and critic Jean Blanchaert plus artist and creative director Marcantonio Brandolini d’Adda.
Glass artist Pippa Stacey pays tribute to the talented stained glass artist and tutor.
Claire Prendergast was an extraordinary stained glass artist and an inspiring teacher.
She gained two Postgraduate Certificates in both Glass and Fine Art and Glass and Architecture from Central Saint Martin’s in London.
She taught stained glass in London for eight years before relocating to Stroud, where she became an invaluable part of the South Gloucestershire and Stroud College Stained Glass department team as both tutor and glass technician.
She had also been a master wig maker and hair and makeup artist for the Royal National Theatre, The Royal Shakespeare Company at The Barbican and for the musical Les Miserables. She was also a hairdresser, known for zooming to people’s homes on her electric bike and making people feel good.
She was also an incredible mum to an unusual brood, comprising a talented gardener, chef, host, comedienne and rule-breaker.
Claire’s bright light, vitality and kindness have had a positive and enduring influence on so many of us.
International glass organisations are coming together to support a resolution for a United Nations (UN) International Year of Glass in 2022 (IYoG2022).
The International Commission on Glass (ICG), the Community of Glass Associations (CGA) and the International Committee for Museums and Collections of Glass (ICOM Glass) are united in the vision to celebrate the past, present, and future of the transformative material that is glass through the IYoG2022.
Their aim is to underline the scientific and economic importance of glass, which, they say, “is the unseen heart of so many technologies and a facilitator of just and sustainable societies as they face the challenges of globalisation”.
An international programme of events is already planned for the IYoG2022, including: An opening conference in Geneva, Switzerland in February 2022; An international high-tech industrial congress in Shanghai, China, in April 2022; An International ICG Congress in Berlin, Germany, in July 2022 (celebrating the 100th Anniversary of Deutsche Glastechnische Gesellschaft [DGG]); International glass displays in art galleries and museums throughout the year; A closing congress in Japan, in December 2022.
Additional activities proposed include: A US Glass Day in Washington DC; The ‘From Pharaohs to High Tech’ glass conference in Egypt, from April-May 2022; Special issues of the most relevant scientific journals related to glass; Special issues of glass magazines, as well as scientific and industrial journals related to national glass societies; Hundreds of further activities globally, focused on a universal distribution of activities at all education levels.
The IYoG2022 aims to meet the UN’s Agenda 2030 goals, by: Demonstrating the role of glass in advancing civilisation throughout recorded history; Organising international glass science and art festivals, with workshops to excite and inform the public of this rich history, and highlight links between glass, art and culture; Stimulating research on glass among organisations in education, industry, research and the public domain, including museums, to address global challenges of achieving sustainable and equitable growth, and improving the quality of life everywhere; Building worldwide alliances focused on science and engineering for young people, while addressing gender balance and the needs of developing countries/emerging economies.
A formal presentation for the initiative was streamed worldwide on 3 December 2020 via YouTube, which you can view here. New letters of endorsement arrived following this, adding to the 1,250 previously received from 77 countries.
If you have not done so yet, please view and register your interest at www.iyog2022.org. There is still time to register, as the pandemic has pushed dates back.
In February 2021, the Spanish mission in the UN, supported by the Egyptian delegation, initiated the process of delivering the Resolution to the UN General Assembly (GA). They received support from UNIDO, the UN body focused on Industrial Development, which is currently editing a final draft of the Resolution.
The IYoG2022 proposal now needs the official support of as many countries in every continent as possible, to accelerate the process and guarantee a unanimous vote at the next UN meetings of the GA in March-April 2021. The organisers ask the main endorsers from every country to contact their Foreign Affairs ministries and their Permanent Missions at the UN to further this goal.
Hailed as “the most important European competition in international contemporary glass art”, the Coburg Prize for Contemporary Glass 2022 has launched. Make a note in your diary now as applications from glass artists will be open online between 1 June and 31 July 2021.
The Prize aims to provide a Europe-wide overview of current trends and developments in contemporary glass art and review the current situation of glass art. The competition and accompanying exhibition are open to artists living in, or originating from, Europe who work with glass as a material.
Participation is open to professional artists submitting vessels, sculptures, objects, installations or stained glass made during 2020 and 2021. Up to three pieces can be submitted for consideration.
Initial applications are via digital images, with selection of artworks for the exhibition and competition to be made from these applications in late September 2021. A second round of judging will take place once the chosen artworks themselves have been submitted, and prize winners will be decided in December 2021.
An international jury will award three main prizes and several special prizes. The first prize is €15,000, second prize is €10,000 and the third prize is €5,000. There will also be an audience award.
Works by approximately 100 to 150 artists will be selected for the exhibition, taking place between 10 April and 25 September 2022 in the historical rooms of Veste Coburg (Coburg Castle) and the European Museum of Modern Glass in Rödental, Germany.
The previous Coburg Prize for Contemporary Glass was held in 2014, when the work of 150 artists from 34 countries was presented.
The objective of the Coburg Prize is to show which design and processing techniques artists currently use, what thematic content predominates and whether current social questions, such as sustainability, migration, political suppression, globalisation and climate change are taken into account.
The event is also concerned with ascertaining the extent to which glass is still considered purely as a material or whether, given its numerous possible uses and special properties, such as transparency, it is viewed as a complex medium with multiple meanings.
The award ceremony will take place on 9 April 2022 in Coburg. A bilingual catalogue will be published to accompany the exhibition. Works will be available for sale through the Veste Coburg Art Collections, with a sales commission charge of 20%.
The competition is organised in cooperation with the Alexander Tutsek-Stiftung foundation, based in Munich, Germany.
Note that restrictions due to the coronavirus pandemic are possible, which may lead to the cancellation of the competition.
The organisers of this year’s Cambridge Invitational Art Contest & Exhibition have extended the application deadline until 1 July and hope to hold a physical exhibition of works from 16-22 August 2021.
Artists who are affiliated with an art association, society or group, such as the Contemporary Glass Society (CGS), are invited to submit entries. Each artist must submit two works of art that best represent them as an artist.
There is no theme to the contest and all mediums of art, including photography, can be entered. Performance and video art are excluded.
Artwork size must not exceed 120cm x 120cm x 30cm for artworks to be hung on the wall. Sculptures must not exceed 150cm in height x 100cm x 100cm. The total cost of entry is £35.
Galeria Moderna, the organiser of The Cambridge Invitational Art Contest and Exhibition and The London Invitational Art Contest and Exhibition, is working in association with art supplier, Cass Art, and commercial gallery, Castle Fine Art.
Twelve winning artists will be selected by a panel of esteemed judges, each a gallery owner/manager from Cambridge or London, alongside this year’s guest judge, the artist and sculptor John Doubleday. These artists’ work will comprise the 2nd Annual Cambridge Art Contest and Exhibition 2021, and will be shown in an online exhibition hosted by Galeria Moderna and Cass Art, and a physical exhibition at Castle Fine Art’s Cambridge gallery.
Cass Art will host the winning artworks and blog interviews with the 12 winning artists on its website. Cass Art also promotes the winning artists of Sky Arts’ annual ‘Portrait Artist of the Year’ TV series and The London Invitational Art Contest and Exhibition, providing excellent exposure for the successful artists.
Restrictions permitting, each winner and a guest will be invited to attend a preview and awards evening at Castle Fine Art to receive their Cambridge Invitational Art Award. The evening will include further individual awards, prizes, drinks and a chance to chat to the judges and commercial art purchasers and take part in media interviews.
For one week, the winning artworks will be exhibited for viewing and for sale, with 20% of the sales commission donated to the beneficiary charities, Arts 4 Dementia and Arts and Minds.
Should the government or Castle Fine Art feel it is unsafe to hold such an event at that time, the preview and or exhibition will be postponed to a more suitable date later in the year.
Important dates: Submission deadline: midnight on 1 July 2021 Winners announced: 21 July 2021 Preview Exhibition & Awards Evening: 15 August 2021 Online exhibition: 16 August 2021 Physical exhibition: 16-22 August 2021.
To find out more, register and submit your entries, visit the website.
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What message do you want to convey to your audience through your glass work?
