Merchant City Festival, Glasgow

I will be participating with Parade Artist at the Merchant City Festival in Glasgow this weekend, 28 and 29 July.

This shows some of the variety of work available from painting, glass, ceramics, and textiles.  Everything is reasonably priced and portable.  And we have a credit card machine so there is no limit on your spending power.

There are lots of events going on in the Merchant City at the Festival, so if you can get to the centre of Glasgow at the weekend, come along and experience a variety of things.

Christmas Show

Parade Artists completed its (now) annual Christmas Show in the Wasps Hanson St studio building last weekend.  We used the same kind of set up as last year since it  worked well then.  

The ceramics section ready for the show

The various media - Ceramics, Glass, Painting and Textiles were each set up in a group.  There were also plinths and display sections throughout the show area where the various forms were in mixed displays.

Glass section at the end of the day

Some of the paintings displayed

We were fortunate to have sponsorship from Kopparberg and also to have Supper in the Suburbs provide a  pop-up cafe

Some of the Kopparberg and some of the baking from Supper in the Suburbs

Some visitors enjoying the drink and baking

Although the weather was bad on some days, people still came to the show.  The numbers of visitors and exhibitors were down on last year, but we were not down hearted as can be seen from the faces of these three artists.

You can follow Parade Artists on Facebook through out the year.  Plans for other shows will be announced there.

50 Plus Show

Last Weekend I was involved in the 50+ Show to help promote Craft Scotland.  This was a last minute effort as the promoters only offered the space to Craft Scotland about 6 weeks before the show.  Selection was a hurried affair and with some being selected dropping out before the three people were selected.

When we arrived, I was surprised to find that we did not have a shell stand, just a space.  However we all set up with the materials we had.  This was the set up prior to opening on Friday.

The three crafts represented were paper making (Pulp), jewellery (Lauracet Designs) and glass (Verrier).  We all offered some hands on making of a basic kind.

The first day for me was a blur from about 11:30 when people began taking up my offer of a free basic introduction to stained glass through making copper foiled angels or Christmas trees.  The degree of activity can be noted by the fact that I got to start my lunch after the close of the show at 5:00.  I was better organised on Saturday, but still finished my lunch at 5:00.

I am not sure how much Craft Scotland got out of the show, as we all were busy and not really able to promote the sponsoring organisation as much as we should have.  The staff of Craft Scotland were in Philadelphia at a show promoting Scottish craft and the Board member who was to have come on Saturday was ill.

It was gratifying to hear some of the workshop participants say to one another that "this was the best part of the show."  I am not sure how many people will be coming to my classes and workshops as a result, but I enjoyed the process, although very busy.

Glass Supplier to the Fashion Industry

My involvement with the London Fashion Show began some years ago when I did some work for Amy Stephenson's father. Of course, I didn 't know it at the time. In the Summer Amy and her father came to talk about body casts and possible uses. They took away a mould to try out some ideas. In October they came back with some samples they had prepared and proposals for my involvement in producing glass pieces for Amy's outfits. The first sketches of the ideas are below:

We began experimenting with various means of attaching the glass to the cloth. We looked at slots, holes and looped wires. The holes won out in the end. We also tried out some backing for the glass pieces. This picture shows some of the brass and copper mesh that we fused to the backs.

The fronts appear unchanged whether they have backing or not.

We found that the copper stuck best, but only on black backed items. Later, when some unbacked pieces were dropped on the cutting room floor, it was discovered that the backing was not necessary.

We also tried out the wire connections between pieces. An example of these tests is below.

As we proceeded and Amy experimented with and developed her ideas, the structures simplified, but the decoration and shaping became more precise. Things were pretty relaxed at this stage with ideas coming and relatively long time scales to prepare the pieces. This did not last.

London Fashion Week

This is a short clip of the London Fashion Show. The relevant portion is about 1:25 into the clip.

http://www.youtube.com/watch?v=PxZ-uhVDfIs&feature=youtube_gdata

It is short, but does give a little idea of how the pieces move on the garments.

Migrate - New Gallery

Scottish Glass Society

PRESS RELEASE

December 2009


This year’s annual exhibition for the Scottish Glass Society is a show with a difference, as we are celebrating 30 years since the Society was first established in 1979. To honour this momentous anniversary we would like to introduce Migrate, which showcases the best of emerging and established Scottish glass artists. This contemporary art glass exhibition is based on the theme of Migration; and examines the different ways that artists express a sense of place and identity in their work; bringing together a collective of glass artists that actively challenge and contribute to the rich Scottish Art scene. The final leg of this touring exhibition is at the Broadfield House Glass Museum, in the West Midlands and will run until the 21st of March 2010.

The Exhibition features 30 selected Glass Artists; the range of work includes cast, etched, engraved, slumped, fused, blown, leaded, stained and painted panels, forms and sculptural pieces. The following artists' work is on show: Karen Akester, Kim Bramley, Nichola Burns, Keeryong Choi, James Denison Pender, Junko Eager, Rachel Elliott, Carrie Fertig, Dominic Fondé, Alexander Galloway, Siobhan Healy, Kate Henderson, Max Jacquard, Jessamy Kelly, Alison Kinnaird M.B.E., Emma Lindsay, Karen Liversedge, Tanwen Llewelyn. Julia Malle, Eilidh Mackenzie, Judith Ann McCrorie, Rosalynd McKenzie, Denis Mann, Keïko Mukaïdé, Stephen Richard, Alan Robinson, Liz Rowley, Angela Steel, Max Stewart & Jeff Zimmer.

Christmas Show - First weekend

The first weekend of the Christmas Show organised by Parade Artists has now finished.



This shows two of the people who showed just outside and within my studio preparing on Friday afternoon for the Saturday and Sunday show.

Magda and Dorte

This shows the front part of the studio dressed for the show.

And here we all are at the end still smiling.

Now to take things down and do some work until we set it all up again for next weekend. I trust it will be worth it.

Christmas Shows

Parade Artists are holding Christmas Shows on the last weekend of November and the 1st weekend of December. I will be participating in this again, but changing things a little. As my studio is just off the main gallery area of the building, I am going to have an open studio, with work displayed among the working elements of the studio.

I do have to show you the post card that has been developed, as one of my pieces is on the front. You are allowed to guess!

The Show will be held on Saturday 28th from 11 to 5 and on Sunday 29th from 12 to 4. I know! artists just can't get up on Sunday morinings! The show will be open for the same hours on Saturday December 5th and Sunday 6th.

As you can see from the card there is a variety of things on display. There will be even more people exhibiting this year. If you can, come and enjoy a little tipple.

Migrate with Crate

As you may remember I was accepted along with others on the basis of a proposal to exhibit with a travelling exhibition organised by SGS. I have now completed the piece:

This will be packed and unpacked by other people at least four times during the next year. My experience with helping to pack up the Collect work exhibited by craftscotland showed me the need to prepare the packing properly.

At the conclusion of Collect we had three large and heavy objects to pack away. One weighed approximately 30kg. It was of glass with some delicate undercuts. The crate to contain it was lined with polystyrene sheets. Some foam was included and the rest of the space was filled with polystyrene peanuts. The other works had similar arrangements. It just did not feel to be a secure way to transport the works.

So for this work I decided to build a crate with custom fittings to cushion the work from any damage. I felt when I finished that it was such a simple arrangement that others may benefit from a description. So if you don't want a description of crate making and cutting and forming polystyrene, skip to the next thing.

The crate can be made from a variety of materials. Wood is easiest for me. I used some plywood offcuts to form the base and sides. The ends were formed from 3 ply plywood with 19 by 45mm timber cut and nailed to it.

The side rail does not have to be so large as I made it - just too lazy to cut it down, I guess. The side rail allows the top to be screwed to the sides holding them from expanding or bowing with the pressure of the packing materials.

I then cut 50mm. thick polystyrene sheets to fit the case. These were attached together with "U" shaped copper wire stuck into them. The shape to fit the glass was cut with a heated cutting tool. It is a bit smelly and smokey, but does the job. When the shape for the glass was formed, a 10mm sheet had a collar cut out to go around the rim of the glass.

Note that the packaging is also numbered so that each piece is put back into the crate in the order required for transport. When the base layer and cradle for the glass are placed in the bottom of the crate, the glass is added.

Now the crate is ready to have the wooden part of the work packed. This shows the piece with the glass in the wooden cradle with the packaging around the "slipway".

The packaging for the "slipway" is put into the crate separately from the glass and packaging. You can see there is a layer of polystyrene between the glass and the wood.

Then the "slipway" is inserted into its cradle.

The polystyrene had holes made with the hot cutting tool to correspond to the supports for the glass. The holes are larger than the supports, so there is no pressure on them during transport.



Again the packaging is numbered. The final packing pieces are to be added now. Still each has its number!

The major pieces of packing are now added ready for the topping out!

Next add the essential tools and spares. In this case the tool is a two way spirit level so the piece is placed horizontally and level.

Then there is the necessary photo to show how the piece is to be displayed.

Finally the list of contents and instructions on installation.

Now the lid can be put on and screwed down. Note the locating marks on the lid to show how it fits without having to run new pilot holes for the screws. The screws to be removed are noted with an "X".

All screwed together solid and ready for delivery.

If the instructions are followed everything should be secure for delivery to the buyer!

Preparing for the Exhibition

Artist-led exhibitions make me realise why we pay commissions to galleries.

I spent all of Wednesday making table like plinths for the exhibition.

These are simple objects that require stability, must be plain to avoid competing with the object(s) on it, and - in our case - must be flexible and easy to store.

Based on two different design suggestions, I have constructed a table supported -but not attached - on a pair of right angle support legs. These legs are hinged so the whole can be closed and stored flat. As the legs are hinged, each pair can be combined to form a square plinth with the addition of a top.

The process of construction is simple too - although it does take time. The four I made took most of the day with the usual interruptions.

First you use a butt hinge to make the right angle supports. This is arranged so the support cannot open beyond a right angle:

When this pair of supports is screwed together, you place them on the up-turned top and place battens round the supports for security:

Finally, turn upright and paint.

Of course there are all the monthly meetings that led up to this point over the last four months. And there will be the lengthy negotiations on Friday about placing the plinths, and hanging the work on the walls and in front of the windows. But it will be fine.

Parade Artists Spring Show

As some of you will know, I am part of an organisation in the building that is currently called Parade Artists. We are about to have our Spring Show. If any of you are in the area, please come along. There will be self-portrait and mask making sections as well as the show proper.

In addition, one of my pieces made it onto the invitation, which I now extend to you.

Any of you who are in Glasgow on these days are welcome to come and make yourself known. I hope to see some of you. In any case, have a look at the variety of talented artists who are part of the Parade Artists organisation.

Acceptance for Exhibition

I just got notification yesterday that I have been accepted for a travelling exhibition organised by the Scottish Glass Society. It will travel round Scotland and then go to England. The piece is still to be made, as the proposals were to be made on the basis of the theme "Migrate".

I must be better at writing these things than I thought. The proposals were judged on the basis of up to six images of past work and the written proposal. My proposal was:

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Working Title: “Is She Safe To Travel In?”

Migration removes the sense of place that people grow up with. It changes their sense of identity as they attempt to fit with their new environment.

The boat shape is a traditional symbol of hope for migrants. It takes them to new lands. It removes them from their origins and takes them to another where they hope for a different and maybe better place. It does not always work.

It is a symbol of the migration of not only people, but of goods and materials often from less wealthy parts of the world to the most wealthy. The materials migrate not only in place, but in often in shape and in function.

The shape also is a symbol of our migration from conception to life.

In all these the shape represents a dark anticipation of an uncertain future.


Method

The boat shape will be a dark rough top surface with polished sides showing dark veils penetrating the hull. It will be set on the boat builder’s forms on the slipway waiting to be launched.

The boat will be cast in a press mould. Dark frit on the surface will form the veils as it moves with the cullet to form the solid hull. The hull will be polished to reveal the interior.

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The images I submitted were the Australian Bloom, Dream Time 1, and three images I have not shown here before:

Blue Wave

Fissured Earth

and

Standing Stone

Now all I have to do is make it!

Sunday Morning Cheer

This morning I opened a discussion list to see my name featuring in the subject line of one of the threads. Of course I had to see what was going on!

I had, with the usual trepidation, entered a few photographs of my past work in the newly established gallery on the site. I am always nervous about putting my work in front of fellow glass workers. It is much more nerve wracking than presenting a design to a client. The work will be judged by so many more people than just the client.

In this case, however, I have had a range of enthusiastic comments, with some of them having even come to this blog to find out more of what I do and have done.

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Apologies for the long gap between postings. The preparations for Christmas sales, and recovery from them seem to take up much more time than I ever expect. There have been an unusual number of Children's Hearings that I have been required to participate in this autumn. The preparation for these takes up several evenings before each Hearing. I am also trying to complete projects before my Christmas break which starts on Thursday. But all these are excuses. Have a good holiday season.

Christmas Shows Time Again!

Halloween and Guy Faulk's Night are over, so it must be Christmas show time! Everybody is doing some shows, fairs, or sales. Everybody is determined to get in on this gift-fest. And I am no different.

The collaborative group in our building called, Parade Artists, is holding Shows over two weekends. They are 29 & 30 November and 6 & 7 December in the WASPS Hanson Street studio building. If you are in the area, it would be good to see you.

I will be selling glass of course, and the 2009 craftscotland calendar.

In some ways, the best part of these weekends are the studio parties after the close of the last day. The relief and a few drinks help you get to know your fellow artists much better.

Absence and Return

I haven't been very consistent in posting about my activities. Apologies.

I have had several weeks of doing no glass at all! The first of these weeks I spent on a life drawing course with 7 other people. Five days for only £100. This included meals and all the paper you could use. Oh yes. And a model and an instructor. Although I was only able to do the first 4 days, it was a great experience. I normally think I can do only two hours at a time before my concentration falls. Well with an instructor, I find I can concentrate longer. It was a great group of people from all kinds of backgrounds and experience.

The last day I had to go to chair the craftscotland Board meeting. We have appointed a new chief executive, and I didn't think I could leave her to cope on her own, nor my vice-chairman. One good outcome of the post meeting discussion was that I think we have convinced the vice-chairman to take on the post of chairman soon.

Then off to London for a week to see my daughter and go to some exhibitions. I got to see the Royal Academy show that included a number of my favourite artists - Braque, Calder, Miro, and Giocometti. It was a great show with lots of big stuff. There also were a number of charming small studies in pencil, charcoal and some pastels that showed the working up of ideas to the final pieces.

I also got in the last week of the BSMGP 40cm2 (Forty centimeters squared) show at the Cochrane Theatre. This required each of the selected artists to use a square format of 40cm. This provided a variegated wall of glass against the windows of the Cochrane Theatre bar area. I was there on a bright day which allowed lots of light through all the windows. A feature of the street scape outside the Theatre is a number of relatively young trees, giving a dappled light for the panels. Lots of variety, but not many surprises. But there was enough to occupy me for a couple of hours.

I went to the Sir John Soan Museum in Lincoln's Inn Fields. This is a great museum for those interested in architectural details. The attraction was the invitation to find the pieces of glass, ceramics and a few other materials that were created by students in response to the space. Well some of them were so well hidden that even with a crib sheet they were not easy to find. My favourite though was a "poured" piece of glass falling from a tap in the dressing room.

Good dinners, good conversations, and nice wines.

Then I came back to reality - work.

As you know, I have had difficulty with my large kiln over the past few months. I am now getting more confident about the results that I can get from it. The three pieces below are a screen between a bedroom and the stair up to the loft. It is more about decoration that privacy it seems to me.

The three pieces as shown are for a space 990mm by 860mm

The actual colour is somewhere between these two photographs. The upper one is as it was taken by the camera (me). the lower one is as colour corrected by Adobe. The colours are warmer than the bottom one, but not so yellow as the top. I suspect that I should take an evening class in photography.

Open Studios

The Wasps Open Studios was held this past weekend.

My proposal for a large piece to attract attention was accepted by the organisers. This followed on from my reaction to a series of TV programmes called "Who Do You Think You Are?". In this various "celebrities" are invited to find out about their ancestors. Normally, the line is traced through the male line. This began to irritate me.

So I made the proposal to establish an eight-foot high pyramid called Woman Tree instead of a family tree.

This view shows the view from the entrance of a number of body casts which show the female figure at various ages and states. Three of the sides show a variety of forms.

The fourth side begins at the bottom with a male figure and continues with marked and damaged figures attempting to show a contrast between the growth of the three female sides and the conflict of the "male" side.

Unfortunately I was so busy during the weekend, I was unable gather/overhear comments (if any) on the concept and display.

Fortunately though, I was busy in the studio. There was lots of conversation ranging from how do you do that? does glass flow? to more involved discussions. One of these was about the use of glass as a decoration fused to ceramics. The person accepted that the glass would be crazed as in her current experiments. She was really pleased to find my studio as a source of cullet that she could obtain to break down into small particles.

Another discussion was with a student at one of the local colleges on the Saturday. On Sunday, she brought another student with her to show the studio and its resources. Me being one of those resources. (I really should start a consultancy!). Students from the other college didn't make themselves known to me or didn't come.

One of the most rewarding things though, was that four artists whose work I admire and respect purchased some of my bowls and platters.

So it was a rewarding weekend (from which I am still recovering) in terms of discussions, contacts and sales. It was much better than the three or four previous open studio weekends.