June

Yesterday, 23rd June, I passed the final hurdle and have now qualified as a Master of Philosophy from The Royal College of Art, London. This was a 2-year research degree and the subject was, Glass, Gold and the Image. It will be possible to gain access to my thesis in due course, from the college. YEH.

Having some distance from the work I did at that time, I can now see more clearly the most important achievements of this research. I will briefly set them out here, as it is worth noting.

I was for many years concerned with gilding on flat glass but moved into working on blown glass about 6 years ago. The research allowed me to examine the following: how to protect cold gilding on glass; how layering of glass and imagery would work and how best to combine form with decoration, bearing in mind the need for protection.

The ground I covered in this research was new: I have not found any other person working with these particular issues, and the field was wide open.

I found out how to decorate both surfaces of the glass with engraved gilding and how to use the space between to create depth. I learned about the reflective surface and how to work with that to create whatever kind of world interested me. There is a lot more of course but these are the main points.

The steep learning curve is leading to new work that I could not have hoped to make without the support of the RCA and my time there.

Off to Poland for a few weeks in a couple of days, and back on the scene end of July.

I would love to hear back from anyone who might read this.... comments?

Have a wonderful summer! f

May

Greetings for May.

It is getting busier and busier. Have got into the swing of regular fairs (Cambridge Glass Fair) but more are coming along. I will be showing at Handmade in Britain, first time, later in the year and there is the Glass Biennale coming up in the late summer.

One big preoccupation is now the Book, which has been cooking for many years. Now the research is over and I am making work, I have to get on with it once and for all. I am getting responses from other artists who have been working with reverse glass gilding (verre eglomise) so I can show their work as examples. Work will continue through the summer (crouching in my caravan in the depths of Poland).

I will of course announce it once it is nearing completion, and in the meantime will be keeping my eyes open for tips on how to publicize a self published book. Is Amazon a good idea? What does anyone think?

Picture: this is going in the Biennale: size H36 x D33 x W42cm. Big Bird.

April 2010

Classes:
Simply, classes run when there are enough students. I am happy to teach anyone who wants to learn, but I need a minimum of 2 students. For possible dates please email me direct as I can then arrange a class, in my studio in London, to suit all parties.

Fairs and Galleries
Please continue to visit the blog for information on exhibiting and various up coming Fairs. I have just started down the long road of Fairs and galleries. The first Fair was Cambridge, and now, in May there will be Birmingham! I will be continuing to show throughout the year with most Fairs near or in London. It will be fun to meet readers of the blog who can come to see (and start to collect) some of my work.

Zest Gallery in London is starting to show the work, www.zestgallery.com.
Also, I have been taken on by an excellent glass gallery in Munich (the only one),First Glas Galerie, www.first-glas-galerie.de. They will include me in their Autumn show.

This tumbler is one of several. Fired painting is applied to the outside surface, which is a change as I am usually working on the reverse, or inside. The tumblers are blown by Liam Reeves who does all my blowing. In the kiln the glass was slumped as it fired the painting, making the whole object out of whack, unlikely.

More soon. Keep in touch.

class cancellation

March update

In this glass gold leaf was glued to the outer surface of the glass and engraved. The glass was then heated slowly in the kiln over several hours. When hot enough, it was picked up and put into the furnace, to fuse the gold to the glass. Only if the glass is heated to slumping point will the fusing be successful and remain permanent. This is how much of my work is done with the hot process. The cold process is different.

Meanwhile, my first trade fair, The Cambridge Glass Fair, last weekend, went very well.

I shall be showing next:

The National Glass Fair, Sunday, 9 May, Solihull. www.glassfairs.co.uk

Recollect, a group show, www.recollectexhibition.org. at the following locations:

Glass Art Gallery at London Glassblowing, 12th-29th May 2010

62-66 Bermondsey Street,London SE1 3UD

tel:02074032800 info@londonglassblowing.co.uk

www.londonglassblowing.co.uk, and

Burgh House and Hampstead Museum 12th-16th May 2010

New End Square,Hampstead,London NW3 1LT

tel:02074310144

info@burghhouse.org.uk www.burghhouse.org.uk

These are curated by the artists, Emma Woffenden and Matt Durran,

contact details
info@mattdurran.com
+44 (0)79393242312

Reflect 2010, the London Glass Fair, Sunday 13 June, at Kensington Town Hall. www.reflectlondon.com

Dorset Art Weeks, 29 May -13 June, www.dorsetartweeks.co.uk.

The time for the Cambridge Glass Fair is fast coming. Being the first show for a very long time, I am spending hours rehearsing ... sorting out glass shelving, lighting, display etc. Amazing how much there is to do as prep, apart from making the work! But its coming along.

I am looking forward to feedback and starting to gather collectors. This will be a good practice for the London show, in June.

This glass has gold applied to the outer surface of the glass. It was applied in sheets, with gelatine as glue, then engraved to make the pattern. The gold is bonded to the glass by heating the object till softening point and then annealing it.

Photo credits

photos: all are taken by Ester Segarra.