Studio Glass at Cecilia Colman Gallery -Click on any image below for an enlargement and further images- studio ceramics | modern glass | bronze | jewellery | wood | perfume bottles
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Peter Layton Born in Prague and brought up in England, Peter Layton studied ceramics at the Central School of Art and Design in London under some of the foremost potters of the day. He chanced upon glassblowing while teaching ceramics at the University of Iowa and since returning to Britain has been continuously at the forefront in promoting this magical and versatile medium.
In
the early 70's Peter Layton was instrumental together with Sam Herman, in
setting up the Glasshouse in Covent Garden.
He subsequently established his own small glass studio at his pottery at Morar
in the Highlands of Scotland, a Glass
Department at Hornsey College of Art (Middlesex University) and in 1976,
the
London Glassblowing Workshop.
____________________Andrew Potter Andrew Potter gained a DATEC Diploma in Craft and Design at Plymouth College of Art and Design
and his BA Hons Degree in 3DD Glass at West Surrey College of Art and Design.
Andrew
has had work experience at The Glasshouse, Covent Garden. He has also worked
as an assistant
to Jan-Eri Ritzman and Sven-ake Carlson, Transjo Hytta, Sweden as well as
Wilke Adolfsson in
Orrefors, Sweden. Andrew has experience of working as Resident Glassmaker-Designer
at Narui Crystal Ltd, Hokkaido and Shikoku, Japan and the Glass-Blowing Workshop,
Tokyo Art Institute, Japan. Since 1993 he has worked with several other
established artists including Anthony Stern, W.Bishop and D.Wall where
he formed Tamar Glass with the latter two, he has also lectured
at the Surrey Institute of Art and Design.
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Catherine Hough Catherine Hough attended Cardiff College of Education, taking her B.Ed. This was followed
by a period of teaching in London from 1971-1975. In 1975 she decided to pursue
a course in glass and metalwork at Stourbridge College of Art,
completing her B.A.(Hons) in 1978.
She
was then invited to set up a studio at Royal Brierley Crystal to make one-off
pieces in glass and metal. In
1980 her work underwent a change of style when she joined The Glasshouse in
London.
Catherine
established her reputation making exquisite perfume bottles which were characterised
by contrast between precise
cutting, polishing and textured surfaces. In 1985 after the formation of Glass-Works
(now Victoria Glass) she
moved on to produce larger pieces employing the same techniques. In her most
recent work she has
moved away from the notion of the “ Container”, severing the connection
with a functional
purpose to produce deeply carved pieces with a purely sculptural identity.
____________________
Debbie Timperley
____________________Nikki Williams
____________________Joanne Mitchell
____________________Rebecca Morgan
____________________Martin Andrews
____________________
Will Shakspeare Discovering glass in 1981, Will quickly decided that the unique challenge of working with a molten material that's untouchable, was too much to ignore. His influences are many and varied, ranging from rock pools and the big bang theory, to his present day experiences in Central America resulting in the vibrant and energetic designs of his Xela range. ____________________
Jane Charles Jane's interest lies in light, texture and form. She feels glass is the ideal medium for those three qualities. Jane says
"Glass should look precious yet approachable". "People must feel drawn to the pieces and the greatest compliment
is when a person cannot resist touching or holding my work". "Colour must be treated with care, there is
nothing more pleasing than a clear piece with colour additions as this enables light to play more freely".
"My work is not finished in front of the furnace". "In fact I probably spend more time diamond sawing, sandblasting,
cutting and polishing". "With the aid of cold working equipment I can achieve the texture and finish that I covet
so much". "Form is also very important". "Strength and simplicity in a shape are essential". "I
am eager to retain the essence of glass and use form to promote it".
____________________Bob Crooks Refreshingly different and modern, Bob Crook has been blowing glass since 1990. Using traditional glassmaking skills he has created elegant and structured
shapes inspired by architectural forms and lines.
____________________Stuart Akroyd
Stuart Akroyd studied glass design at Sunderland Polytechnic and gained his mastery of the art at the International Glass School at Brierly Hill in the West Midlands.
Each piece is first blown and shaped by hand until the exact shape is achieved. The glassware is then
slowly cooled to prevent cracking. The cold glass is then ground and polished to a brilliant finish to
reveal a window into the well of coloured glass. Of course each piece is unique
in itself and when possible inscribed by the artist.
Malcolm Sutcliffe Malcolm enjoys making bowls, vases, dishes and plates that have clean, smooth, simple shapes offering a surface similar to that of a canvas for the images to be sandblasted on. At present he is working on the watery theme of Dolphins and Whales. All the glass is free blown using recycled 24% lead crystal glass. The molten glass is rolled into powdered coloured glass- white, blue, green and black - gradually building up layers. This is then blown and shaped. When cold the Dolphins or Whales are applied using a resist and the surrounding colour is carefully sandblasted away to reveal the Dolphins or Whales in relief. Then finally the pieces are polished which gives a silky sheen to the finished items and all the pieces are signed. ____________________
Marianne Buus
Marianne Buus is a designer/maker producing high quality hand-blown glass. Old age skills are used in new
ways with respect for good craftsmanship. She combines contemporary use of colour with
innovative design, based on the Scandinavian tradition of clean lines and purity in form.
____________________
Brian Blanthorn The range of pebbles are made from sheet glass which is either body coloured or clear glass.
This is then treated with oxides, chemicals and heat to produce internal effects.
Glass is cut into large strips approximately 3 X 10". Some strips are
painted with oxides. The strips are assembled
into blocks, fused in a kiln and cut on a diamond saw. These are then ground
on a lathe, the facets put
on and polished. Each bowl and pebble are unique.
The
ideas are taken from forms and patterns that occur in nature such as rock
strata
and the patterns and colours from tropical marine fish.
____________________Ewa Wawrzyniak
____________________
Lucien Simon Lucien Simon is essentially a self-taught artist, although he studied special glass techniques at Zelezny Brod
Glass School in the Czech Republic and stone sculpting in Australia, and has undertaken numerous
crash courses in welding, carving, painting, casting and engraving. He creates both
sculptures and colourful abstract acrylic paintings on canvas.
His
sculptures and furniture in stacked and polished glass show a marked influence
of Danny Lane. However, he
develops his work into different formations, for instance by combining glass
with stone. Within such
combinations, he enjoys how the layers of glass replicate the way in which
sedimentary rock
is formed, and by sandblasting parts of the glass, he also acknowledges the
effect of the elements eroding rocky outcrops.
____________________Paul Barcroft ____________________
Jon Lewis ____________________ Amanda Notarianni ____________________ Graeme Hawes ____________________
Phil Atrill ____________________
Mike Hunter ____________________
Julie Langan
____________________Amanda Lawrence ____________________
Stephen Lindars ____________________ Stewart Hearn In 1986 Stewart Hearn received the Charlie Bray Prize, Sunderland Polytechnic. Royal Society of Arts Highly Commended. His work is featured in "The Yellow Book", The best of 1986 Student Art and Design. Each piece is signed by the artist. 'Inspiration for these pieces is drawn from Marsden, an area of coastal cliffs in the North East of England, particularly the 'stacks' that have been eroded by the elements. The aim was to simplify those processes and translate the qualities through the use of cold-working techniques onto blown forms.'
____________________
C & L Hawkins
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