Birds and Poetry

Her House is Air, cast, blown and engraved glass, peregrine falcon feather and pen nib.

Photo by Toril Brancher

I am delighted to announce that I have just won the inaugural £10,000 Adrian Henri Poetry in Art Prize at Much Wenlock Poetry Festival for my piece, Her House Is Air.

I will be spending my prize money buying a new kiln and other studio equipment and giving myself some time this autumn to develop new work in my studio.

I am just back from Skokholm Island off the Pembrokeshire Coast where I have spent a week developing ideas for new work. I went with Rachel Phillips, Rachel and I are designing a stained glass window for the island and spent the week sketching, absorbing the place and delving through old bird books and scientific data in the library, which the wardens kindly allowed us to use as our studio.

Skokholm is the neighbouring island to Skomer and is an island I have visited over the past 20 years, it has recently been purchased by the Wildlife Trust south and West Wales and will soon be re-established as a bird observatory for the monitoring and recording of bird life. It is exciting to see it with its newly restored accommodation (there is now electricity and even occassional wifi!), most of the considerable renovation work has been carried out on a shoestring with volunteer labour. The new wardens, Richard and Giselle, will soon be taking up residence in the lighthouse. If you are interested in birds, take a look at their blog.

The lighthouse on Skokholm.

There is so much that inspires me about the Pembrokeshire Islands, they have everything that grabs my imagination, including birds, research, archaeology, history, dramatic weather, isolation…I have come back to my mainland studio with masses of ideas and inspiration for new work.

A sample piece for Skokholm Island.

I have been busy preparing for my trip to the US in May. I will be giving a paper about our Conwy Castle windows and running a glass workshop for the American Glass Guild Conference in Florida, then going to the National Glass Museum at Corning and on to New York.

A sample piece for my US workshop.

 

Towards Spring…

We have been treated to some superb snow this month.

The past few months has been a busy time for teaching. I have done a number of glass projects in local primary schools. I love this work, it is so inspiring to work with children and get them enthused about glass!

One particularly inspiring project was to make 2 bowls with kids at Ysgol y Frenni on the theme of “patterns in the environment” (or “patrymau  yr ymgylchedd” as the entire project was undertaken through the medium of Welsh!).

I designed this as a patchwork of glass so that each child could work on their own design and then we could put them together to make a group piece. The bowls will be entered in the Urdd Eisteddfod in May.

In another project we made fused glass jewellery on the same theme.

The kids were so enthusiastic, they said it was their favourite day at school  EVER!!

Rachel and I have just run a “Landscape into Glass” 4 day course at my studio here in Pembrokeshire. We were teaching our students mark-making and layering techniques and ways of working with firing paint, silver stain and frits in combination with pieces of Bullseye glass. We are planning another course for later in the year.

Sue Thorne mark making with firing paint

Cathryn Shilling decorating her “embryos” with silver stain

We had a couple of field trips to absorb the landscape and to visit local artists studios, like that of ceramicist, Adam Buick and glass artist, Steve Robinson. The course was very successful and we are planning another for next year.

At Adam Buick’s studio, St. Davids

Frances Arkle at Steve Robinson’s studio, St. Davids

Visiting Carreg Coetan, a Neolithic burial chamber in Newport.

Apart from that I have been developing some new work in the studio looking at taking painting into glass. Sarah Harman and I have been working on our quarry project, having meetings with the National Park and technical specialists to help us hone down our ideas and firm up our budget so that we can apply for funding to make and present the work in 2014.

I have just heard that I have been successful in my funding bid to Wales Arts International for support to attend the American Glass Guild Conference in Florida in May where I have been asked to give a paper and run a workshop. I am planning a trip that includes visiting glass artist friends, Jane Bruce and Michael Rogers and spending time at Corning Museum of Glass and in New York. It will be a very inspiring trip, my first time in America, and a total contrast to life in rural West Wales!

Brooklyn Bridge

Newport Bridge, Pembrokeshire

 

Turning Of The Year

The trees are totally magnificent at the moment! I love winter and am enjoying the crisp and the soggy days and soaking up inspiration for my work.

A very exciting development is that I am going once a week to the Department of Architectural Glass at Swansea Metropolitan University where I have a Visiting Artist arrangement whereby I exchange working with the students for access to the facilities and expertise in the department. I am working with the first years on their “Decorative Processes” module with the fabulous Lisa Birkl. It is wonderful to go there and for one day a week to concentrate solely on playing with ideas. It makes me realise how much of my time at home is taken up with admin, writing proposals, answering emails and generally making a living, and how rare it is to have uninterrupted creative time right now…I can feel a New Year’s resolution coming on! This term I have been playing around with the sandblaster, developing my skills and trying things out. I am definitely going to invest in a sandblaster soon.

Alongside this I have been developing my work in Welsh and English medium local schools and have made a total of 200 glass Xmas decorations with pupils aged 3 to 11 over the past month. It has been fantastic to work with the children and to spread the word about glass to a new generation! Their work is beautiful.

This has been quite a year for me from installing the Conwy Castle commission, winning the Warm Glass Prize, going to the Northlands symposium, collaborating with Sarah Harman on the Rosebush project, studying with Antoine Leperlier, and now working in Swansea – I am really beginning to feel things start to come together.

I am now putting the final touches to my New Year show ready for the opening on 27th December. For the first time I am showing a series of glass panel alongside my paintings. Pop in and join us for a glass of mulled wine from 27th december – 7th January.

 

Digging into Autumn

Wonderful David Nash sculptures at Kew Gardens.

Autumn is truly upon us and I have been busy squirrelling away new work and spending far too much time writing proposals and funding applications.

Rachel and I heard that we have been invited to America to give a paper and a glass painting workshop to the American Glass Guild in Florida in May 2013. This is mega exciting for me as I have never been to the States and I have begun to make so many artistic and personal connections there since I began working with glass.

Unfortunately the honour does not come with any funding attached, so it is taking quite a bit of my time to fund-raise for the trip. To that end Rachel and I are holding a Studio Sale of our work at my gallery from 23rd-25th November. There will be an opening event on Friday 23rd from 7pm and you are all invited! I will be offering 20% discount on all framed work and will have a selection of unframed sketches and studies from £45. We will be making glass Xmas decorations and producing Xmas Cards of our work. Come and join us for a glass of mulled wine on the night, or pop in over the weekend.

I am also organising a preview for my Cân yr Oerwynt project in Rosebush with Sarah Harman. This event takes place 4-6pm on Sunday 11th November at The Old Post Office in Rosebush. Sarah has written a suite of songs about the history of the village and the human shaping of the landscape and I will be showing my ceramic, slate and glass sculptures and some of the historical material I have unearthed. If I don’t loose my nerve, I will also be singing one of the songs with Sarah and friends!

Aside from all this organising I have been exploring some of the Bronze Age archaeological excavations that have been taking place in Pembrokeshire this autumn. This is all part of my project based on the human shaping of the landscape and I am spending a good deal of time thinking about how I am going to work with all the material, how (and if!) to work glass and paint and how to take the whole thing forward in a coherent way.

A very interesting dig at the Bronze Age Trefael Stone undertaken by Bristol University and the Welsh Rock Art Society. You can clearly see some of the 75 cup marks on the stone.

This is a very creative and exciting time for me. The symposium at Northlands in July gave me space and context to consider things, to contemplate the relationship between my painting and my glass work and to wonder if maybe two dimensions isn’t all bad!

Another fantastic thing to come out of my time at Northlands is my friendship with Emma Woffenden. At Northlands we spontaneously collaborated in making work based on figure in landscape, we want to continue our collaboration and I have just spent time with her in London seeing exhibitions and talking about our work and projects.

Collaboration with Emma Woffenden in Caithness.

Emma Woffenden’s studio showing her sculptures: ‘Elephant’s Revenge 1′ and ‘Elephants’s Revenge 2′.

Whilst in London I went to a fantastic glass show celebrating 35 years of glass making at London Glassblowing. This show is curated by Cathryn Shilling and is beautifully laid out in London Glassblowing’d new venue on Bermonsey St. near London Bridge.

‘Woven’ by Layne Rowe.

This piece is an incredibly skilled piece by Layne who pulls canes of clear glass which are encased in a thin layer of white and coated in colour (if he lived in Wales he would surely be called Layne the Cane!), he then lays these side-by-side and picks them up on hot clear glass on a blowing pipe, he then blows the whole thing, and cold works the finished piece with a copper wheel to reveal the inside of the canes…madly intricate work.

I ran a weekend painting course at my studio this autumn. Thanks to my students who threw themselves wholeheartedly into working expressively and trying out new ideas. My next course is in February, information on my website.

Chris getting into his stride on my painting course.

Finally, I have been to some excellent exhibitions recently. One of the most moving was the extraordinary pairing of Celia Paul with Gwen John at Pallant House Gallery in Chichester. Although both artists are separated in time by around 80 years, they have a lot in common as both being strong and quiet artists who make deeply personal, spiritual work. It is a beautiful exhibition, well worth the trip to Sussex. There is also an inspirational Dubuffet exhibition upstairs, which is particularly relevant to the venue at Pallant House as it has a very active commitment to supporting non-traditional artists.

C

Celia Paul in her studio.

 

lindanorris

It has been such an amazing 10 days at the International Festival of Glass that don’t know where to begin…

Firstly, I had four days in Wolverhampton doing a masterclass with Antoine Leperlier. Antoine is a French artist whose use of glass casting techniques derives from working with his grandfather,François Décorchemont, who, in turn had learned from his father, Emile Décorchemont (b.1850), who was studio assistant for Gerome. This depth of heritage resonates through his work. Glass is his language, and he uses the peculiar properties of glass to explore his primary themes which are an exploration of the human condition in relation to the fourth dimension, time.

Obviously, in four days you can not hope to learn so much, but the experience of working with Antoine and absorbing his seriousness of purpose was incredible.

In the evenings we attended various exhibitions and openings connected with the International Festival of Glass. A visit to the Glass Afloat show at Bodenham Arboretum was particularly memorable. It was fascinating to see how other glass artists have made work for a site specific external location. In particular I was impressed by Jacque Pavlosky’s piece made from cut glass found work. Jacque was a fellow student on Antoine’s course.

Following on from this masterclass, I went to Stourbridge to attend the International Festival of Glass. This event centres around the British Glass Biennale which showcases work from among the best in British studio glass.

Gorgeous piece by Cathryn Shilling.

Piece by Louis Thompson which won the Best in Show Award.

James Lethbridge’s breathtaking ‘Midas Jar’.

‘Titan’ a beautiful piece by Bruno Romanelli

Based at the Ruskin Glass Centre, an arts facility housed in a transformed glass factory, there were an amazing series of lectures, demonstrations and exhibitions. In particular I enjoyed lectures by Antoine and by American artist, Dick Marquis and by Lani McGregor who who talked about the history and development of the Bullseye Glass Factory in Portland Oregan who sponsored my recent Warm Glass Prize. I also enjoyed meeting Jo Newman, who has a studio at the Ruskin Centre, and seeing her subtle beautiful work. I had booked on an architectural glass symposium which was cancelled, so I booked an introduction to glass blowing with Martin Andrews instead.

I love working with hot glass and Martin took me through the basics. I had prepared some moulds and inclusions to work with so we ended up working late one night with Martin and his noble assistant, John, blowing pieces for me in exchange for my help manning the shop during the day! It was great to get to know Martin, and to have an insight into how to improve my mould making techniques for working with hot glass, hopefully this is the start of future collaborations!

I also had some ideas I wanted to try out about drawing with hot glass on paper, and I met KT Yun at the festival who has developed the Minimelt, a portable furnace. KT was happy to allow me to experiment with glass and paper and to begin to explore some new possibilities.

 

There were a number of evening events as part of the festival. The most spectacular was Torcher Tailor, orchestrated by Carrie Fertig, a glass friend from Edinburgh, and consisted of a glass wedding dress being fabricated on stage using torches and flameworked glass. The dress was made onto Jessica Mann, a young sculptor wearing a spun glass wig. At the end the audience was invited to come and put a rose or a thistle into one of the small glass vases which made up the skirt of the dress.

One of the most interesting and unexpected things for me to come out of being at the festival was to begin to get a feel for the origins of British Glass making as an industrial process in the Midlands 300 years ago. I went along to an opening at Dial Glass Works, home of Plowden and Thompson glass makers and discovered a factory built in 1788 and remaining very much unchanged since.

Before I left Stourbridge, I went back to Dial Glass Works and photographed and drew people working in the factory. It was incredible to be in this historic building which is still very much a functioning factory and to watch highly skilled craftsmen pulling 30 foot long perfectly straight and true glass rods for use in industry.

All in all I have had a great time and am very grateful to the Arts Council of Wales for sponsoring my attendance at the festival in the form of a training bursary.

Now I am back in Pembrokeshire and settling in to my studio and enjoying the autumnal shift in weather. I am looking forward to processing the incredible summer of glass I have had.

 

Heading North

Having finally got some of my slate pieces out to the quarry and with the kiln cooling with the latest Rosebush piece inside, I am headed north to Lybster in Caithness to have 9 days to play with glass as my prize in the Warm Glass competition. I am having a few nights in Edinburgh staying with my sister enroute, and hooking up with some glassy friends on Monday, before embarking on the 8 hour journey to Caithness by train. I will be away from home for two weeks. That piece will be well annealed by mid July!

I am looking forward to having time, facilities, materials and space at Northlands to experiment with ideas and make work inspired by the landscape, alongside an exciting bunch of  glass artists from as far afield as Sydney and Portland. Scarey and exciting to be part of this. I can’t believe I have come so far (and ended up in the same place!) in less than a year. Last year I remember a sinking feeling after the Northlands conference of “what the hell am I doing?” when I listened to a tired and disillusioned glass artist sharing her perspective on life as an artist working with glass. Actually, I cried, to be so far out of my comfort zone, to be taking such risks as a painter entering a new field, an artist meeting craft. And what a journey it is ! I am constantly surprised by how long everything takes, Rachel smiles wryly and says “welcome”! The medium imposes this discipline on my unruly ideas, which is just as well.

It is an exciting path. I am so grateful to my new  glass artist friends who are making me so welcome, to Bullseye Glass for sponsoring the prize, and to The Arts Council of Wales for supporting my travel to Northlands, and to Jeremy Lepisto, Michael Rogers and others who have shared their skills and knowledge and continue to make supportive “Likes” from afar. Thanks to everyone else in my life who puts up with my absences, my enthusiasm and nerdy fascination with coefficients and historic documents…

Northlands here I come!

 

From Rosebush to Newgale (via Clunderwen).

Work is coming along on my ‘Can yr Oerwynt’ project (funded by the Arts Council of Wales) based on the history of Rosebush, my neighbouring village. I am working on ceramic decals and experimenting with firing imagery onto old plates in preparation for an installation I am planning as part of the project.

I had a fantastic visit to Martin Bellwood‘s foundry in Clunderwen to discuss getting Martin to make a “plinth” for my glass work for the Rosebush project. It was brilliant to begin to put glass together with metal and other materials in his workshop and to see the possibilities for combining media and collaborating with another artist. I am so lucky to have Martin just around the corner – people travel a long way to work with him. He certainly knows his materials and our discussion opened up all kinds of possibilities which I hadn’t really considered. I am thinking of using industrial iron as the basis of the plinth, to reflect the industrial nature of much of the history of the Rosebush Quarry and railway.

This weekend I am teaching a painting course near Fishguard at Indigo Brown. I hire Indigo Brown a couple of times a year as a base for my courses, Maggie and Andrew are the perfect hosts, they seem to think of everything, and we are very well fed by Andrew, who is great cook. I am running an autumn course here (October 4th – 7th) and there are still some places left if anyone is interested!

Lunch at Indigo Brown.

The students are all getting stuck in and are engaging with the theme of breaking out of their habitual ways of painting and seeing. Newgale beach was wonderful this morning at low tide with lots of interesting detail, shifting light and miles of wet sand to keep us happy. We are working in the studio with wax and sand and other textural materials and concentrating on mark making and exploring new ways of working.

Jane sketching at Newgale…where did she get that bag?!

Judith on Newgale.

Judith breaking out!

Sam pondering in the studio.

 

Settling back into Pembrokeshire

I have been busy all week with the interpretation for the Conwy Castle windows, so yesterday I took a break and we went over to Skomer to enjoy the bluebells at their best. We had the afternoon on the island before Den’s guided boat trip in the evening, so we got to see all the old favourites and reconnect with the place.

The short eared owls were flying in North Valley, the guillemots and razorbills were doing their thing on the cliff edges and the puffins were starting to bring sand eels in to feed the first chicks. At the latest count there are something like 11,400 puffins nesting on the island! So, it is a busy place, but if you time it right you can get around without bumping into too many people, and the bluebells, which are very late this year, are in full bloom and creating spectacular carpets all over the island.

The weather was fantastic and the evening boat trip was wonderful, we saw a few porpoise, gannets, puffins and other auks. The views of the island were breathtaking and the reflected colours in the water were amazing.

The trip was capped off by being surrounded by a raft of shearwaters as they swooped and glided over the water at sunset.

This morning I went on a (Welsh language) guided walk across the Preseli’s to remember those who protected this landscape from being requisitioned by the M.O.D. during the Second World War. The guide was Geraint Harries, a local National Park Warden who explained  about the wildlife of the place and Hefin Wyn, a local author and historian who has written extensively about the history of the area and was able to tell us more about the history of the landscape.

Unfortunately I couldn’t do the whole walk, but cut back through Rosebush with Sarah Harman so that we could discuss our on-going project research into the human shaping of the landscape around the quarry. I am looking forward to spending more time in the studio in June finishing some pieces that are in progress on this, and Sarah is well underway with writing a suite of songs. It is good to catch up and fill each other in on our progress. This is part of a research and development project I am undertaking with the support of The Arts Council of Wales.

 

Teaching in France…view from the hammock!

I am in the South of France to teach a painting course for a friend of mine. Penny Milner is a friend from college who lives near Cahors and paints and teaches locally, she invited me to come and challenge her students to “free up” a little.

We had a great day yesterday, all the students entered into the spirit of the course (and brought fabulous food to share for lunch!). Now I am free to catch up with Penny and do my own work for a few days…I am getting a little used to life at 30 degrees!

 

Warm Glass Prize!

Cast, blown and engraved Bullseye Glass, peregrine feather and pen nib. 2011 (photo Toril Brancher)

I am absolutely over the moon to have won the Bullseye Prize in the International Warm Glass Competition for my piece, ‘Her House is Air’, above. This piece is the first completed work in a series I am currently working on inspired by birds and poetry.

My prize is a place on an international glass artists symposium at Northlands Glass in Caithness this July organised by leading glass artist Jane Bruce – I can hardly wait!