National Icons

Scottish Glass Society Exhibition 2023

Welcome to our 2023 Exhibition

Our thanks go to the Scottish Glass Society artists who have submitted work for our exhibition National Icons. We recognise it’s been a difficult and challenging time for glass artists but this exhibition demonstrates how their energies have been channelled.

The physical exhibition is now over but we will keep the on line exhibition up for 12 months. There is still some works available for sale. Please contact sgschair@gmail.com if you are interested in purchasing and we will make arrangements for payment and delivery. Depending on location there may be additional charges for packaging and delivery.

Thanks for looking and we hope you enjoy the exhibition.

12 September 2023 - 11 September 2024

Recast

My recent artistic practice has been heavily focused on using waste recycled glass from Cathode Ray Tubes (CRTs). The glass tubes were the key component of old-style televisions. My current work has expanded on this to investigate at the production of glass art made from non-traditional raw materials and glass art made from waste glass that are not traditionally used by glass artists.

Artist: Gregory Alliss
Glass is a puzzle! Look at these two conflicting viewpoints which may both used to describe glass and glass art objects. Frustrating, unforgiving, time consuming, unwieldy, and brittle. Fragile, colourful, shiny, transparent, and mesmerizing. One viewpoint is while making and one viewpoint is while looking at the same artwork. The duality of its perception is why glass is my material of choice. My challenge is to master the idiosyncrasies and subtle nuances of glass to produce intriguing objects
Email: s1795601@sms.ed.ac.uk
Website: http://www.gregoryalliss.com/
Detail: Kiln Cast Glass
Price: £1700
Photo Credit: G Alliss

Medevil Tile Design, St Magnus Cathedral, Orkney

\SOLD Having been taught the basics on copper foiling, soldering and leadwork, I am most interested in developing my glass painting. I have included a piece based on a medieval tile design which uses silver stained glass with Reusche pigment painted on as a wash, then the design removed before firing. The other piece – the fragment of a Pictish carved stone – also includes the same pigment painted on to the glass. I have also tried stencilling removing the paint using a badger brush to reveal the stencil design. Using a Dremel has also yielded some interesting results – more subtle and good for creating texture, such as the jagged edge of a leaf. I have also used mosaic technique, gluing glass pieces to create different heights as I have done with the green leaf against the sky.

Artist: Emma Orman
I only started working with glass in March this year, attending evening classes at my local college. I then looked for some further mentorship on painting glass and attended two workshops with artist Kate Henderson. I continue to try new subjects and techniques, and most of my interest and influence comes from Scottish historical sites, such as the Iona carved stone and the St Magnus medieval floor tile design I have submitted. I also love nature, so the green leaf design against the blue sky with a hint of sun brings me joy
Email: Emmabest2000@yahoo.co.uk
Detail: Painted and leaded glass
Price: £40
Photo Credit: Artist
Dimensions: 7 x 7 cm

Shelter

SOLD Having been taught the basics on copper foiling, soldering and leadwork, I am most interested in developing my glass painting. I have included a piece based on a medieval tile design which uses silver stained glass with Reusche pigment painted on as a wash, then the design removed before firing. The other piece – the fragment of a Pictish carved stone – also includes the same pigment painted on to the glass. I have also tried stencilling removing the paint using a badger brush to reveal the stencil design. Using a Dremel has also yielded some interesting results – more subtle and good for creating texture, such as the jagged edge of a leaf. I have also used mosaic technique, gluing glass pieces to create different heights as I have done with the green leaf against the sky.

Artist: Emma Orman
I only started working with glass in March this year, attending evening classes at my local college. I then looked for some further mentorship on painting glass and attended two workshops with artist Kate Henderson. I continue to try new subjects and techniques, and most of my interest and influence comes from Scottish historical sites, such as the Iona carved stone and the St Magnus medieval floor tile design I have submitted. I also love nature, so the green leaf design against the blue sky with a hint of sun brings me joy
Email: Emmabest2000@yahoo.co.uk
Detail: Painted and leaded glass
Price: £35
Photo Credit: Artist
Dimensions: 7.5x 5.5 cm

Fragment Iona Medieval Stone

Having been taught the basics on copper foiling, soldering and leadwork, I am most interested in developing my glass painting. I have included a piece based on a medieval tile design which uses silver stained glass with Reusche pigment painted on as a wash, then the design removed before firing. The other piece – the fragment of a Pictish carved stone – also includes the same pigment painted on to the glass. I have also tried stencilling removing the paint using a badger brush to reveal the stencil design. Using a Dremel has also yielded some interesting results – more subtle and good for creating texture, such as the jagged edge of a leaf. I have also used mosaic technique, gluing glass pieces to create different heights as I have done with the green leaf against the sky.

Artist: Emma Orman
I only started working with glass in March this year, attending evening classes at my local college. I then looked for some further mentorship on painting glass and attended two workshops with artist Kate Henderson. I continue to try new subjects and techniques, and most of my interest and influence comes from Scottish historical sites, such as the Iona carved stone and the St Magnus medieval floor tile design I have submitted. I also love nature, so the green leaf design against the blue sky with a hint of sun brings me joy
Email: Emmabest2000@yahoo.co.uk
Detail: Painted and leaded glass
Price: £150
Photo Credit: Artist
Dimensions: 6 x 16 cm

Peaceful Relict VI

My work is fundamentally concerned with where the truth lies, why we do not try to better understand and be more tolerant of each other’s perspectives. I have become fascinated by the different interpretations applied to the same “fact” when viewed by different people, in different places or in different contexts. This has become more pertinent in a society where the expert is denigrated and the populist is believed. Religious symbols are significant but are also often divisive as they are representational of religion. I have explored this phenomenon through the cross which was in use long before being appropriated by Christianity. My ‘cross’ (“Universal Relict”), that is a sign of hope across different cultures, to make it universal. I am often stopped by people to compliment my talisman, they easily accept my interpretation of the cross without any aggression, suggesting that my design has achieved my goal of universality. Furthermore, I have always been interested in historical icons and they true stories, especially that often we prefer to believe the myths we are told about them, instead of investigating the true story. However, even if we do investigate the true story this is still mediated by the teller, it still has a viewpoint attached to it. There is so much that is hidden inside that we cannot see and even if we can, it is not truly possible to understand the story as experienced by the specific individual. That is why in my work often I use salvaged materials as carriers of real stories and glass as a symbol of transparent truth. In addition, I use 24-carat gold because it attracts attention and associates the viewer with something extraordinary, and the icons glory, when for me, in many cases, it is a symbol for hiding the real truth.

Artist: Goshka Bialek
I am a sculptor and researcher working in a variety of techniques and media, however particularly glass and salvaged materials. My work is fundamentally concerned with where the truth lies, what truth is and why we do not try to better understand and be more tolerant of each other’s perspectives. I am highly experimental in my work, being unprepared to let the seeming limitations of a medium constrain what I can achieve. This questioning approach, always searching for the underlying truth of what is possible technically, reflects my conceptual aesthetic of where “truth” lies. Having lived in Edinburgh, Warsaw, Moscow, Hong Kong and Hoon (Libya) I still travel a great deal. Throughout my travels over the last 30 years I have maintained a permanent base in the beautiful historic city of Durham in North East England. Both my travels and the historic context of my permanent base are highly influential on my work.
Email: goshkab@gmail.com
Detail: Lampwork
Price: £1714

Beast

Artist: Goshka Bialek
I am a sculptor and researcher working in a variety of techniques and media, however particularly glass and salvaged materials. My work is fundamentally concerned with where the truth lies, what truth is and why we do not try to better understand and be more tolerant of each other’s perspectives. I am highly experimental in my work, being unprepared to let the seeming limitations of a medium constrain what I can achieve. This questioning approach, always searching for the underlying truth of what is possible technically, reflects my conceptual aesthetic of where “truth” lies. Having lived in Edinburgh, Warsaw, Moscow, Hong Kong and Hoon (Libya) I still travel a great deal. Throughout my travels over the last 30 years I have maintained a permanent base in the beautiful historic city of Durham in North East England. Both my travels and the historic context of my permanent base are highly influential on my work.
Email: goshkab@gmail.com
Detail: Lampwork
Price: £1571

Kiss

Artist: Goshka Bialek
I am a sculptor and researcher working in a variety of techniques and media, however particularly glass and salvaged materials. My work is fundamentally concerned with where the truth lies, what truth is and why we do not try to better understand and be more tolerant of each other’s perspectives. I am highly experimental in my work, being unprepared to let the seeming limitations of a medium constrain what I can achieve. This questioning approach, always searching for the underlying truth of what is possible technically, reflects my conceptual aesthetic of where “truth” lies. Having lived in Edinburgh, Warsaw, Moscow, Hong Kong and Hoon (Libya) I still travel a great deal. Throughout my travels over the last 30 years I have maintained a permanent base in the beautiful historic city of Durham in North East England. Both my travels and the historic context of my permanent base are highly influential on my work.
Email: goshkab@gmail.com
Detail: Lampwork
Price: £1429

The present is the key to the past

James Hutton (1726-97) was a Scottish geologist, naturalist and physician among other things, and is often referred to as the father of modern geology, playing a key role in establishing geology as a modern science. Through studying features of landscape and coastline in his native Scotland lowlands, such as Salisbury Craigs and Siccar Point, he developed the theory that geological features could not be static but went through continuous transformation over indefinitely long periods of time. At Siccar point, on the Berwickshire coast, Hutton found the proof for his theory of angular unconformity in an outcrop of land which revealed two contrasting directions of rock which must have been deposited over time. I have depicted the famous rock formation at Siccar point with a gap along the line of unconformity, into which I have written a famous quote by Hutton: “The present is the key to the past.”

Artist: Andy Brooke
I work mainly in traditional stained glass but with the addition of printed or painted imagery heated onto the surface of the glass. I often use photographic source material (usually my own) which adds a sense of immediacy and relevance to the old techniques. Screen printing is my favoured method for transferring imagery onto glass because it results in an enamel image fused into the glass surface, which seems to take on a life of its own. Much more so than a simple transfer image which stays on the surface. I prefer to use leaded light techniques, partly because I enjoy the process, but also because it connects to an ancient tradition which has connotations of telling significant and spiritual stories which generations of folk have connected with. For this piece of work, I have used a source image of Siccar Point but have changed it in photoshop and added handwriting to suggest a human connection. The border is made up from a photograph I took of the rock formations at Powillimount, on the Solway coast
Email: andybrookeglass@gmail.com
Website: http://andy - brooke.pixelrights.com
Detail: Screen printed and leaded glass
Price: £357
Photo Credit: Artist
Dimensions: 41 x 43.5 cm

Apotropaic Images for Contemporary Life

Apotropaic Images for Contemporary Life: offers protection from the daemons that haunt modern day society. Gone are the evil creatures of the darkness and deep woodlands. Today our daemons maybe better analysed and understood but they are no less demonic. Depression, stress, anxiety a whole legion of unseen illness. I found, during my own dark days that giving an emotion a name and a face lessened its potency and malign influence. The work is kiln cast and engraved opaque glass fixed into reclaimed timber frames

Artist: Michael Bullen
Glass is a wonderful medium to work with. The technical difficulties inherent in the material and its potential to express ideas across a vast and varied palette offer a never-ending voyage of inspiration and discovery
Email: rookeryglass@gmailo.com
Detail: Kiln cast and engraved opaque glass
Price: £1200
Photo Credit: A MacKay
Dimensions: 32 x 47 x 6

Kaua'i 'o' Bird

SOLD I am a glass engraver and mainly use flexible drill and lathe (both copper and diamond wheels). I often use deep engraving to give a modelled3D effect. I used diamond and copper wheels to make deep cuts into the blocks. For the flying female bird, I left the engraving unpolished which gives a ghostly appearance. For the male bird I polished the tree branch the bird sits on and his eye to shine out. The feathers above his legs, I painted with low temperature firing enamel and baked it on.

Artist: Junko Eager
My subject is a pair of birds called “Kauaiʻōʻō” of the last sound recording was made in1987 and are almost certainly now extinct. The birds lived on the Kauai island in Hawaii and are an icon of Hawaiian wildlife sadly destroyed by human intervention. The recording is the pitiful sound of a male bird calling females who will never reply. I engraved the male and female birds on two blocks of crystal,10 x 15 x 3cm.The female is white like a ghost, flying away. The male is shown with his distinctive yellow feathers at the top of his leg painted in. On display, the female bird sits on a small wooden block to give it height and separation from the male block. I have a device to sit alongside which the visitor can press a button onto hear the last beautiful song of the male bird.
Email: junkoeager@yahoo.co.uk junkoeager@yahoo.co.uk
Detail: Engraved crystal block
Price: £200
Photo Credit: Artist
Dimensions: 20 x 21 x 13 cm

The Jelly Piece Song

SOLD For many Glaswegians that moved from delipidated tenements to the high rise flats in the 1960's, a major downside for the child playing in the street was being unable to catch the piece and jam thrown out the windae from a 20 storey flat.

Artist: Claire Fairley
Pop art style. The Jelly Piece is fused using bullseye glass. The other images are from the lyrics of the song. A wean no getting his piece. The kids from the scheme marching to George Square protesting no more buildings over "piece throwing hight". The painting ion glass uses both black and blue Reusche paint Moving away from the 6mm lead and the H shape lead cane, I opted for a 4mm lead cane and a U shaped lead for the frame.
Email: Claire_fairley70@yahoo.com Claire_fairley70@yahoo.com
Detail: Painted and leaded glass
Price: £214
Photo Credit: Tim Kirman

Mackerel Sky

SOLD I enjoy modelling in clay before casting with bullseye glass in the plaster moulds taken from the original artwork. I also fuse glass to produce a sheet prior to painting an image onto it and re-firing it. Sometimes, I sandblast pieces, and hope to introduce more of this technique into future works. The pieces produced for ‘National Icons’ have used a variety of the aforementioned techniques. Mackerel Sky. “Never long wet, never long dry”. Screen printed on glass – main panel, painted, Bullseye glass surround.

Artist: Judith Glennie
Trained at Edinburgh School of Art; Goldsmiths' College, London; Warsaw Academy of Fine Art, Poland; and Redding University. Scholarships to Hospital Fields, Arbroath and Warsaw. Exhibited in various exhibitions.
Email: ianibmccrorie@gmail.com
Detail: Screen printed and painted glass
Price: £200
Photo Credit: Tim Kirman

Scottish Entomologists

I enjoy modelling in clay before casting with bullseye glass in the plaster moulds taken from the original artwork. I also fuse glass to produce a sheet prior to painting an image onto it and re-firing it. Sometimes, I sandblast pieces, and hope to introduce more of this technique into future works. The pieces produced for ‘National Icons’ have used a variety of the aforementioned techniques. Scottish Entomologists 19th and 20th Century. Front layer sand blasted glass, middle section wood fired, glazed insect sculptures, backing glass fused/ painted.

Artist: Judith Glennie
Trained at Edinburgh School of Art; Goldsmiths' College, London; Warsaw Academy of Fine Art, Poland; and Redding University. Scholarships to Hospital Fields, Arbroath and Warsaw. Exhibited in various exhibitions.
Email: ianibmccrorie@gmail.com
Detail: Sandblasted, wood fired, glazed insect sculptures, painted fused glass
Price: £250
Photo Credit: Artist

Looking Up

I enjoy modelling in clay before casting with bullseye glass in the plaster moulds taken from the original artwork. I also fuse glass to produce a sheet prior to painting an image onto it and re-firing it. Sometimes, I sandblast pieces, and hope to introduce more of this technique into future works. The pieces produced for ‘National Icons’ have used a variety of the aforementioned techniques. Fused and painted. Looking up through water to goosander above.

Artist: Judith Glennie
Trained at Edinburgh School of Art; Goldsmiths' College, London; Warsaw Academy of Fine Art, Poland; and Redding University. Scholarships to Hospital Fields, Arbroath and Warsaw. Exhibited in various exhibitions.
Email: ianibmccrorie@gmail.com
Detail: Painted fused glass
Price: £180
Photo Credit: Tim Kirman

Rusty Rivets

Robert Stephenson is renowned for the first passenger train in 1829, with the steam locomotive ‘Rocket’, however the first steam locomotive to work in Scotland was ‘The Duke’ built 14 years earlier by his father, George Stephenson. However, it wasn’t until 1833 that the first Scottish built steam locomotives were made, by J & C Carmichael of Dundee, by which time Scotland had truly moved into the Industrial Revolution Scotland can boast having had 18 manufacturing yards in its 120 year history, however, when Glasgow was in its heavy industry heyday as locomotive builder to the world, The North British Locomotive Company exported locomotives to railways all across the globe. That meant a quarter of the world’s steam locomotives were built in the city at the yards of manufacturing company, the largest in Europe, in Springburn and Polmadie. Scottish steam locomotive building continued until 1958, and the last in service train came to the end of the line in June 1967. Today, examples of Scottish locomotives can be found pulling tourist trains from Fort William and Bo’ness, while static examples can be found languishing, and rusting in transports museums, such as The Riverside and Summerlee heritage Park. Inspired by the iconic industrial presence and legacy, if not for steamie eyed romanticism, I created this piece ‘Rusty Rivets’ following my historical and visual research of the subject. A fused and slumped piece, which like its heavy metal influences, comprises of several individually made components which include fused plating, kiln formed name discs, fused rivets, and layers of paint and rust wafers. Once combined, the piece was slumped to resemble a locomotive steam chamber. It is displayed sitting on two restored original steam locomotive nuts and bolts.

Artist: Steven Graham
My stained glass panels are influenced by the styles of the Pre-Raphaelite and art nouveau periods while incorporating contemporary themes. I use the individual qualities of hand blown glass which I enhance by etching and painting with hydrochloric acid and detail using traditional glass paints and enamels. My painting style is very realistic, layering numerous firings to create depth and shape to capture likeness and realism, particularly important when executing portrait pieces. Where possible, I encourage the installation of panels into light boxes to allow the client to maximise their opportunities to view the artwork throughout the day and night.
Email: steven@in-glass.uk
Website: https://in-glass.uk
Detail: Fused and kiln formed glass
Photo Credit: Steven Graham
Dimensions: 17 x 15 cm

David Coulthard: British F1 Winner 1999

David Coulthard: British F1 Winner 1999 - Screen printed original photo montage, acid etched flash glass and silver stained, set in a leaded stained glass panel complete with acid etched and painted logos.

Artist: Steven Graham
My stained glass panels are influenced by the styles of the Pre-Raphaelite and art nouveau periods while incorporating contemporary themes. I use the individual qualities of hand blown glass which I enhance by etching and painting with hydrochloric acid and detail using traditional glass paints and enamels. My painting style is very realistic, layering numerous firings to create depth and shape to capture likeness and realism, particularly important when executing portrait pieces. Where possible, I encourage the installation of panels into light boxes to allow the client to maximise their opportunities to view the artwork throughout the day and night.
Email: steven@in-glass.uk
Website: https://in-glass.uk
Detail: Screen printed, painted, acid etched and silver stain leaded glass
Price: £450
Photo Credit: Steven Graham
Dimensions: 31 x 29 cm cm

The Bee and the Golden Weave

The Bee and The Golden Weave, is inspired by my investigation into nature and the plight of the bee. I have used clear glass throughout and the bee and weave design have been painted using traditional high fire paints. All painted details have been layered and textured to create the illusion of depth. The bee’s wings and the hive cells have been etched using hydrofluoric acid to increase the sensual perspective. The hexagonal weave has been water gilded with 23.5 carat gold and silver. Gold and silver have also been used on the hive cells and the wings. The glass has been layered with the cells etched on the back of the glass and the bee painted on the front. The bee’s wings are painted on a top sheet of glass. This layering again provides depth and actual movement sand overshadowing. The panel has been assemble using traditional leaded techniques.

Artist: Steven Graham
My stained glass panels are influenced by the styles of the Pre-Raphaelite and art nouveau periods while incorporating contemporary themes. I use the individual qualities of hand blown glass which I enhance by etching and painting with hydrochloric acid and detail using traditional glass paints and enamels. My painting style is very realistic, layering numerous firings to create depth and shape to capture likeness and realism, particularly important when executing portrait pieces. Where possible, I encourage the installation of panels into light boxes to allow the client to maximise their opportunities to view the artwork throughout the day and night.
Email: steven@in-glass.uk
Website: https://in-glass.uk/
Detail: Plated glass panel - acid etching, painting and silver stain, with gold and silver leaf
Photo Credit: Artist
Dimensions: 30 x 30 cm

Dancing

The glass work of Jianyong Guo is a combination of painting and sculpture. He paints on the inside of the glass sculpture, absorbing the inside painting technology of traditional Chinese snuff bottles and inside hollow out method. The guiding ideology of his work is the traditional Chinese Taoist philosophy, which advocates the harmonious coexistence between man and nature. Harmony between Yin and Yang is the way of harmonious coexistence of all things in the universe. He uses painting to supplement the deficiency of expression of his glass sculptures, and try his best to show his emotions and views in the works to the maximum extent possible. His work is made of kiln casting, blowing and inside painting with special hooked brushes. Through the refraction and reflection of glass, the inside painting and the outside form of the sculptures are perfectly combined. His glass sculpture inherited and innovated the traditional Chinese painting culture, which is a relatively new way of glass art creation.

Artist: Jiangong Gou
Jainyong Guo is a glass artist, sculptor and painter. He is a professor in Shandong University of Art and Design. He achieved a PhD in glass at University of Sunderland in 2016. His work reflects the relationship between people, society and nature. When all relationships are in a state of harmony, there is beauty and joy. Therefore, he pursues the inner and outer harmony of artistic works. His glass works realize this pursuit through the perfect combination of painting and sculpture.
Email: gjy369@163.com
Detail: Blown, painted sculptue
Price: £2500
Photo Credit: Artist
Dimensions: 45x65x35 cm

River

Inspired by the meandering curves of the River Forth

Artist: Kate Henderson
Over the years Kate have developed an increasingly expressive approach to both her painting and glass work, gaining awards and prestigious commissions. Highlights include a Stained-glass panel for Edinburgh City Council Headquarters, two panels for Dunbeath Heritage centre and more recently a panel for Loretto Chapel in Musselburgh. She feels there is a symbiotic relationship between glass and painting that continues to strengthen and influence the mark making within each discipline. Kate often uses traditional glass paint and silver staining and layers the glass pieces to create a rich depth of colour and texture, a technique she is developing to make more sculptural work. In 2020Katewon the Amanda Moriarty prize from the Contemporary Glass Society, completing a two-week Residency with glass artist Mark Angus in his studio in Graz, Austria to develop her glass painting techniques further, due to covid was undertaken in May 2022.This year Kate was Joint winner of the Lord Mayor of London Reflections roundel competition, winning the professional artist category and the opportunity to realise her painterly design and present the glass roundel to Alderman Vincent Keaveny the 693rdLord Mayor of the City of London (2021-2022) at a gala dinner in London in July
Email: kate@katehenderson.myzen.co.uk
Website: http://www.katehenderson.co.uk
Detail: Painted glass and silver stain
Price: £475
Photo Credit: Gorden Bell
Dimensions: 38 x 13 x 14 cm each

Flag i/ii/iii

Inspired by the iconic Union flag. Having fun layering and painting the glass pieces.

Artist: Kate Henderson
Over the years Kate have developed an increasingly expressive approach to both her painting and glass work, gaining awards and prestigious commissions. Highlights include a Stained-glass panel for Edinburgh City Council Headquarters, two panels for Dunbeath Heritage centre and more recently a panel for Loretto Chapel in Musselburgh. She feels there is a symbiotic relationship between glass and painting that continues to strengthen and influence the mark making within each discipline. Kate often uses traditional glass paint and silver staining and layers the glass pieces to create a rich depth of colour and texture, a technique she is developing to make more sculptural work. In 2020Katewon the Amanda Moriarty prize from the Contemporary Glass Society, completing a two-week Residency with glass artist Mark Angus in his studio in Graz, Austria to develop her glass painting techniques further, due to covid was undertaken in May 2022.This year Kate was Joint winner of the Lord Mayor of London Reflections roundel competition, winning the professional artist category and the opportunity to realise her painterly design and present the glass roundel to Alderman Vincent Keaveny the 693rdLord Mayor of the City of London (2021-2022) at a gala dinner in London in July
Email: kate@katehenderson.myzen.co.uk
Website: http://www.katehenderson.co.uk
Detail: Painted glass and silver stain
Price: £350
Photo Credit: Gordon Bell

Banana Boots

The famous banana boots were designed and made for Comedian Billy Connolly, in 1975, by the Glasgow Pop Artist Edmund Smith. They made their first appearance on stage at the Music Hall in Aberdeen and in the same year the documentary Big Banana Feet was filmed, taking its title from the outrageous banana boots in which he often performed. The show led to Connolly's big break making him a household name across the UK. The boots currently sit in the People's Palace and Winter Gardens in Glasgow. Rather than create a typical stained -glass window I have used solid opaque glass made by Oceanside to create the panel that is itself a piece of “Pop Art”. In every other way the panel has been made using traditional methods and materials. To create the Fyffes logo I chose to sandblast the glass rather than paint the text. The finished panel has been framed and can be either wall mounted or hung in a window

Artist: Tim Kirman
Award winning contemporary artist based on the outskirts of Glasgow I specialise in both glass art and photographic media. My work explores the role of memory and childhood as a means of expression for the individual, group, and the wider context of society. Memories are reimagined from both implicit and expected forms. I have long been captivated by the sense of importance placed upon our memories and childhood. The emphasis and sense of belonging that connect us to them seems almost futile and will inevitably be lost in the fullness of time. By creating new narratives the viewer is left with an epitaph to the experiences we all endure.
Email: timkirman@gmail.com
Website: https://www.timkirmanart.com/
Detail: Opaque glass, sandblasted and leaded panel
Price: £900
Photo Credit: T Kirman

Calanais Stones

The Calanais Stones (Callanish) stand isolated on a hillside on the west coast of the Isle of Lewis. This neolithic monument can still be touched and hugged have always fascinated me and while I lived on Lewis was always a place visitors wanted to see.

Artist: Catherine Lowe
I am a glass artist working from an artists' collective in the WASP studios at 77 Hanson Street, Glasgow. In 2012 I returned to college to study glass art. During that time, I won 2 prizes: one from the Incorporation of Wrights in 2013 for my stained glass panel of the People’s Palace in Glasgow and the second from the Scottish Glass Society in 2014, for the best final year student's work. The inspiration for my art glass comes from the time I lived in the Outer Hebrides when life was ruled by the dual forces of weather and sea. I have sought to encapsulate the many moods of the sea and beach in fused glass. I make distinctive fused glass jewellery and artefacts which are handmade and kiln fired two or three times to obtain the delicate reactions that help depict the sea and the water’s edge. I keep refining and stretching my techniques to increase the variations in my work.
Email: info@catherinelowe.co.uk
Website: http://catherinelowe.co.uk
Detail: Enamel painted glass
Price: £120
Photo Credit: Artist

Harris Croft

SOLD In an idyllic setting this Harris croft links to the story of Harris tweed making as the sheep are looked after by the crofters and the crofters weave the tweed. Harris tweed is iconically Scottish.

Artist: Catherine Lowe
I am a glass artist working from an artists' collective in the WASP studios at 77 Hanson Street, Glasgow. In 2012 I returned to college to study glass art. During that time, I won 2 prizes: one from the Incorporation of Wrights in 2013 for my stained glass panel of the People’s Palace in Glasgow and the second from the Scottish Glass Society in 2014, for the best final year student's work. The inspiration for my art glass comes from the time I lived in the Outer Hebrides when life was ruled by the dual forces of weather and sea. I have sought to encapsulate the many moods of the sea and beach in fused glass. I make distinctive fused glass jewellery and artefacts which are handmade and kiln fired two or three times to obtain the delicate reactions that help depict the sea and the water’s edge. I keep refining and stretching my techniques to increase the variations in my work.
Email: info@catherinelowe.co.uk
Website: http://catherinelowe.co.uk/
Detail: Enamel painted glass
Price: £120
Photo Credit: Artist

Celtic Knots

SOLD

Artist: Catherine Lowe
I am a glass artist working from an artists' collective in the WASP studios at 77 Hanson Street, Glasgow. In 2012 I returned to college to study glass art. During that time, I won 2 prizes: one from the Incorporation of Wrights in 2013 for my stained glass panel of the People’s Palace in Glasgow and the second from the Scottish Glass Society in 2014, for the best final year student's work. The inspiration for my art glass comes from the time I lived in the Outer Hebrides when life was ruled by the dual forces of weather and sea. I have sought to encapsulate the many moods of the sea and beach in fused glass. I make distinctive fused glass jewellery and artefacts which are handmade and kiln fired two or three times to obtain the delicate reactions that help depict the sea and the water’s edge. I keep refining and stretching my techniques to increase the variations in my work.
Email: info@catherinelowe.co.uk
Website: http://catherinelowe.co.uk/
Detail: Enamel painted and kiln formed glass
Price: £150
Photo Credit: Artist
Dimensions: 30 x 30 cm

Easdale

The play of light transmission and refraction through glass can be exciting and dramatic - it can be caused by changing the shape, thickness, the proximity or by overlapping adjacent pieces. In stained glass, the pieces are connected by lead canes; using various properties of a kiln, the pieces can be fused together, and the surface may be textured. I use these properties to produce small, fused glass panels illustrating links between stories, places and events. Overpainting provides detail: powdered glass or enamels subtlety. As every panel is different, it is a constant learning process to find the appropriate mixture of glass colours, density and firing schedules; a steep learning curve with both successes and failures on the way! I now try to produce a finished article with a combination of various glass techniques to illustrate an association of ideas. I wanted to use mainly transparent glass for the colour contrasts of Easdale’s long gone and dangerous slate industry as opposed to today’s tourism. The forbidding dark black, painted rock seams lie between towering rocks of glass of differing shapes and hues; even the beaches are of ‘slate’. This bleak landscape is now brightened by peaceful rows of former slaters’ cottages -often holiday homes; splashes of white opaque glass reflect the light, with vivid transparent glass ‘painted’ doors under the inevitable slate roofs.

Artist: Wendy Lund
I took local classes in stained glass, followed by fused glass and continuing with many short courses. These included a course at the Edinburgh College of Art with Kate Henderson, kiln techniques at the National Glass Centre and with Steve Richard in Glasgow, and a Masterclass with Steve Klein at Northlands Creative Glass. At the local Poldrate Arts and Crafts Centre I received the Granary Bowl award and Ken Maskell award, plus several highly commended. I have shown glass locally and at a few Scottish Glass Exhibitions, had some local commissions, a few in the wider UK, Canada and one now in Australia. I taught fused glass from 2004 - 2009 at the Centre, and currently attend fused glass classes there.
Email: wendylund@btopenworld.com
Detail: Fused glass overpainted with glass enamel paints and powders
Price: £400
Photo Credit: W Lund

Destruction: Restoraton: Anniversary at St Ary's

The translucent, deep copper blue glass ruin, portraying the destruction of war 500 years ago, is beside the completed restoration in the central panel . This was achieved only in 1973, still using traditional crafts but with some modern materials so this translucent tower , pillars and choir transmit warm colours with painted details. The window shown is a slight imitation of Sax Shaw’s window; stained glass of vibrant hues, tack fused to scatter reflections and tell a story and set at an angle to the left and central panels so that the piece will be self - supporting, and also cause reflections.

Artist: Wendy Lund
I took local classes in stained glass, followed by fused glass and continuing with many short courses. These included a course at the Edinburgh College of Art with Kate Henderson, kiln techniques at the National Glass Centre and with Steve Richard in Glasgow, and a Masterclass with Steve Klein at Northlands Creative Glass. At the local Poldrate Arts and Crafts Centre I received the Granary Bowl award and Ken Maskell award, plus several highly commended. I have shown glass locally and at a few Scottish Glass Exhibitions, had some local commissions, a few in the wider UK, Canada and one now in Australia. I taught fused glass from 2004 - 2009 at the Centre, and currently attend fused glass classes there.
Email: wendylund@btopenworld.com
Detail: Fused glass overpainted with glass enamels and powders
Price: £400
Photo Credit: W Lund
Dimensions: cms

The Crabapple and Legend for Love

Fused, textured and painted glass bowl. The bright colours of the crab apple glow warmly out of the frost and mist and attract the viewer; the legend is that one pip will explode on the fire if the lover’s name is true. The dark, dull opaque colours mimic the other less attractive fruits and the dying vegetation. The orange red show tints the early autumn sunsets.

Artist: Wendy Lund
I took local classes in stained glass, followed by fused glass and continuing with many short courses. These included a course at the Edinburgh College of Art with Kate Henderson, kiln techniques at the National Glass Centre and with Steve Richard in Glasgow, and a Masterclass with Steve Klein at Northlands Creative Glass. At the local Poldrate Arts and Crafts Centre I received the Granary Bowl award and Ken Maskell award, plus several highly commended. I have shown glass locally and at a few Scottish Glass Exhibitions, had some local commissions, a few in the wider UK, Canada and one now in Australia. I taught fused glass from 2004 - 2009 at the Centre, and currently attend fused glass classes there.
Email: wendylund@btopenworld.com
Detail: Fused glass overpainted with glass enamels and powders
Price: £120

Bubblewrap

SOLD Bubblewrap is an iconic wrapping material of the twentieth century still much in use today. Whilst there is a great and much needed emphasis on ecological factors when considering packaging materials now in the twenty first century, bubblewrap still exists and is produced in a more ecologically friendly form. I have used open casting with Bullseye glass to explore ways of depicting this iconic material in its many forms. This final submitted piece in clear Bullseye glass is in the form of a shallow platter. This glass piece additionally focuses on the dichotomy of depicting one material (bubblewrap) in another material (glass) and suggesting a potential function that the original material could never have.

Artist: Christine MacCormick
My initial career was in science research before I took a different creative path. I attended Central St Martins gaining a Post Graduate Certificate in Advanced Stained Glass, an MA and a huge enthusiasm for the material of glass. I also knew I wanted to teach. Although now retired, I taught for over twenty years instructing in a wide variety of techniques at a variety of levels. I have been privileged to be involved with some outstanding students who have themselves achieved postgraduate qualifications and success in the Stevens competition. I additionally gained a PGCE (Greenwich) and a Diploma in the Philosophy and History of Art (Cantab). I have throughout maintained a private practice, now from my studio on the Isle of Iona in the Inner Hebrides. I have a particular love of open casting.
Email: chrismaccor@yahoo.co.uk
Detail: Cast glass
Price: £425
Photo Credit: A Jardine
Dimensions: 37 x 30 x 5 cm

Margaret MacDonald Mackintosh

I had always expected I'd make precise, symmetrical, quite minimalist stained glass; how wrong I was! As soon as I began cutting the glass, my hands dictated I would be making mountains and landscapes, swathes of colour and rolling shapes with exposed edges and added flourishes of wire, charms and pebbles. I began dreaming about glass, and I sometimes wake up with an idea I have to draw and create, or with a solution to a problem I've been mulling over about how to design something. I'm very glad I didn't begin with buying templates others had created, although this may have speeded up my learning process and helped me avoid some of the early mistakes! Beginning with my own drawings and translating them into glass forced me to make mistakes. I learned how glass breaks, how shapes work together, about structural form and about the discipline of each step. All of my work is copper foil (Tiffany) technique although I sometimes use lead for framing.

Artist: Karen McPhail
I am a stained glass artist in South East Scotland, near Edinburgh. I love to create purpose-driven art, incorporating images or words to highlight historical and contemporary injustice.
Email: kaybeedigital@gmail.com
Website: http://www.kaybeeglass.com
Detail: Copper foil
Price: £250
Dimensions: 32 x 47 cm

Snowflake

Snow, my own personal icon. I learnt to ski, ice climb and winter mountaineer in the highlands of Scotland and have so many fantastic memories of all the hardship and beauty that a Scottish winter can throw at you. Unfortunately climate change means our snowy winters are less predictable but I still feel the joy of seeing a snow capped mountain and catching a snowflake in my hand.

Artist: Geraldine McSporran
After leaving school I trained in Graphic Design and illustration. I came to the medium of glass later in life and after studying it part time entered back into fulltime education and completed the HND in Art Glass Design & Production. I continue to experiment, learn and hone my craft.
Email: gimcsporran@yahoo.co.uk
Detail: Kiln formed and painted, leaded glass panel
Price: £280
Photo Credit: G McSporran

Glasgow Rose

SOLD The ubiquitous Glasgow rose, developed by The Four - Mackintosh, McNair and Margaret and Frances MacDonald. A much loved design classic, which always translates well into stained glass

Artist: Geraldine McSporran
After leaving school I trained in Graphic Design and illustration. I came to the medium of glass later in life and after studying it part time entered back into fulltime education and completed the HND in Art Glass Design & Production. I continue to experiment, learn and hone my craft.
Email: gimcsporran@yahoo.co.uk
Detail: Leaded glass panel
Price: £160
Photo Credit: G McSporran
Dimensions: 20 cm dia

snowflake

I have had the privilege to kayak around some of our amazing coastline, one iconic day for me was sea kayaking on Skye, no wind, bright blue skies, the sea crystal clear and smooth as a mirror. We sat in our boats mesmerised as countless translucent jelly fish floated by until the wind picked up and that fleeting glimpse of wonder disappeared.

Artist: Geraldine McSporran
After leaving school I trained in Graphic Design and illustration. I came to the medium of glass later in life and after studying it part time entered back into fulltime education and completed the HND in Art Glass Design & Production. I continue to experiment, learn and hone my craft.
Email: gimcsporran@yahoo.co.uk
Detail: Cast glass
Price: £160
Photo Credit: Artist
Dimensions: 30 cm dia

A Nod to Tartan

There is probably nothing more iconically Scottish than tartan and thistles, so this piece represents my attempt to add a modern twist, by creating a contemporary, asymmetric, tartan-inspired design for my glass platter. It is titled ‘A Nod To Tartan’. I carefully chose bullseye glass to make the platter, overlaying sheet glass with glass frits and stringers for the thistles and glass ribbons and stringers to create the modern tartan effect. Processes involved full fuse, tack fuse, and finally, slumping to create the shape of the platter. Kiln temperatures reached upwards of 800 degrees C. The raised corners encourage light to reflect the tartan pattern on to the surface of the table.

Artist: Dr Rhona Morrison
I am a retired consultant forensic psychiatrist, author of ‘I don’t talk to dead bodies: the curious encounters of a forensic psychiatrist and I enjoy cruiseline enrichment lecturing ( Japan and Alaska this year) I also have my own art business, where I focus mostly on watercolour and pointillism commissions. Hanson Street fused glass classes have allowed me to dabble with glass for the past two years. My interest is creating glass art. I need assistance with the kiln!
Email: Rhonamorrison63@gmail.com
Website: http://Rhonamorrison63@gmail.com
Detail: Fused and kiln formed glass
Price: £200
Photo Credit: Artist
Dimensions: 30 x 30 x 5 cm

Circle of Life, Nessie Style

My training in scientific glassblowing taught me the importance of fine craftsmanship which I strive to incorporate in my art. Clarity of the material is vital to me and I try to avoid colour most of the time. I attempt to shun technology and machinery to favour the simple task of manipulating rods and tubes of glass in a flame. My works reflects my view of life, seeking the quirky side and accept as a compliment that my art is naïve. I love how two pieces can become one as the hot glass flows between two bodies. The satisfaction on completion is almost an anti-climax equally balanced with the anticipation of uncertainty that the item will emerge from the annealing oven as planned. I relish interacting with hot glass accepting the danger of naked flames by enjoying the intense heat which warms my skin in an almost loving fashion.

Artist: Ian Pearson
Ian has over fifty years of experience of creating glass art and is based in his studio in Thurso, Caithness. His style of working involves shaping glass rod and tubing in an open flame which is one of the oldest forms of glasswork, known as lamp working. Each piece is an original as no moulds are used. Each is signed “IRP” for Ian Robert Pearson. Ian was trained as a scientific glassblower and has been Editor of the British Society of Scientific Glassblowers Journal for nearly thirty-five years and is a past Chair of the BSSG. He uses techniques such as sealing glass rods into tubes which he originally learnt for scientific glass productions and now applies such techniques for artistic results. His use of colour is deliberately limited by choice as shape is more important. Ian uses carbon rods and paddles to shape the hot glass in the flame. The majority of glass he uses is borosilicate which is the same type of glass used in scientific glassblowing.
Email: ian.pearson1@tiscali.co.uk
Website: https://glasscreationsirp.co.uk/
Detail: Flamework and blown glass
Price: £300
Photo Credit: Stephen Lay
Dimensions: 37 cm long x 14cm high x 10 cm wide

Thistle Family at Teacake Barbeque

I love how two pieces can become one as the hot glass flows between two bodies. The satisfaction on completion is almost an anti-climax equally balanced with the anticipation of uncertainty that the item will emerge from the annealing oven as planned. I relish interacting with hot glass accepting the danger of naked flames by enjoying the intense heat which warms my skin in an almost loving fashion.

Artist: Ian Pearson
My training in scientific glassblowing taught me the importance of fine craftsmanship which I strive to incorporate in my art. Clarity of the material is vital to me and I try to avoid colour most of the time. I attempt to shun technology and machinery to favour the simple task of manipulating rods and tubes of glass in a flame. My works reflects my view of life, seeking the quirky side and accept as a compliment that my art is naïve.
Email: ian.pearson1@tiscali.co.uk
Website: https://glasscreationsirp.co.uk/
Detail: Flamework and blown glass
Price: £400
Photo Credit: Stephen Lay
Dimensions: 25x 25 cm

Kig of the Castle

Artist: Ian Pearson
My training in scientific glassblowing taught me the importance of fine craftsmanship which I strive to incorporate in my art. Clarity of the material is vital to me and I try to avoid colour most of the time. I attempt to shun technology and machinery to favour the simple task of manipulating rods and tubes of glass in a flame. My works reflects my view of life, seeking the quirky side and accept as a compliment that my art is naïve.
Email: ian.pearson1@tiscali.co.uk
Detail: Blown and lamp work glass
Price: £200
Photo Credit: Stephen Ley
Dimensions: 40 x 20 x 20 cm

Oh Flower of Scotland

Oh Flower of Scotland is a wall mounted lightbox. The glass panel is made entirely from cut glass which is copper foiled and soldered, framed with lead came and mounted in the wood frame with an led panel. Just like a framed picture, it can be hung on a wall with the hooks and nails provided. My work often features birds, fish, themes of water and nature. My work is colourful and uplifting and takes advantage of the beautiful and colourful medium of glass. The piece in this exhibition is made using a fairly traditional ‘Tiffany Style’ technique. My work quite often features this style alongside fused and painted glass. Most of the birds and fish that I make are fused and painted glass and mounted on wood stands. The design usually determines the best technique for that piece and I just love the range of glass making techniques available – including a newly learned technique of screen printing on glass. However, I am still working on designs best suited to that technique!

Artist: Leona Stewart
I am a contemporary glass artist based in Ayr. My practice encompasses traditional stained glass, kiln fired, fused, and painted glass techniques. I design and work to commission producing window, door & fanlight panels, contemporary wall pieces & contemporary gravity dropped lightshades. I also design a range of contemporary glass gifts and jewellery, which I have promoted at Trade Shows in Glasgow and Harrogate. My work often features birds, fish, themes of water and nature. My work is colourful and uplifting and takes advantage of the beautiful and colourful medium of glass. My studio has been established in Ayr for over 20 years. I am a member of the Scottish Glass Society and Contemporary Glass Society. I have exhibited at The Gallery & The Barony in West Kilbride, Roger Billcliffe Gallery, Glasgow Print Studio, The Harbour Arts Centre in Irvine & The Maclaurin Galleries in Ayr.
Email: enquiries@leonastewartleadedglass.co.uk
Website: http://www.leonastewartglass.co.uk
Detail: Copper foil and leaded glass panel
Price: £500
Photo Credit: L Stewart
Dimensions: 34 x 33 x 7 cm

Under Starlight

‘Under Starlight’ is a stained glass panel inspired by my own journey to the Western Isles and seeing the amazing beaches and seascapes around the Isles. I was imagining the possible journeys of fish and what they were doing out there in the deep ocean beyond the sight of humans. The panel was created by using the traditional techniques of high fired paint, enamel and silver stain. Acid etched glass was also used in the process.

Artist: Brian Waugh
I strive to make work that is beautiful, poetic and inspirational for the viewer and hopefully they will feel something when viewing the work. I try to maintain a high standard throughout my work that the viewer will see and appreciate. I use no artificial aids or Al whatsoever when creating my work. My work is inspired by the great artists of the past like Bums Jones, Waterhouse, Arthur Rackham and many others too numerous to mention. Poetry, literature, cinema, music and of course the natural world also play a large part in what makes me want to create art. My technique is very traditional in that I use the same techniques that have been around for a long time with some modern twists .... acid etching, high fired paint, enamel and silver stain are all involved when creating my work.
Email: briancobweb@icloud.com
Website: http://www.cobwebstainedglass.-com/
Detail: Leaded panel created using acid etching, high fire paint, enamel and silver stain.
Price: £910
Photo Credit: Ian Marshall
Dimensions: 35cm x 35cm

Self Portrait

SOLD One of the great inspirations for me is going in to churches, cathedrals and museums and seeing the great work to be seen and this panel was inspired by the gargoyles, grotesques and other amazing iconic carved heads seen throughout Europe.

Artist: Brian Waugh
I strive to make work that is beautiful, poetic and inspirational for the viewer and hopefully they will feel something when viewing the work. I try to maintain a high standard throughout my work that the viewer will see and appreciate. I use no artificial aids or Al whatsoever when creating my work. My work is inspired by the great artists of the past like Bums Jones, Waterhouse, Arthur Rackham and many others too numerous to mention. Poetry, literature, cinema, music and of course the natural world also play a large part in what makes me want to create art. My technique is very traditional in that I use the same techniques that have been around for a long time with some modern twists .... acid etching, high fired paint, enamel and silver stain are all involved when creating my work.
Email: briancobweb@icloud.com
Website: http://www.cobwebstainedglass.-com/
Detail: acid etched, high fire paint, enamels and silver stain leaded panel
Price: £546
Photo Credit: Ian Marshall
Dimensions: 53cm x 44cm

Mothandala

The iconic idea of Motherhood has been subject for as long as (wo)men exist. Nowadays mothers in particular are multitasking and balancing a variety of parts in their lives while still disappearing behind the process. Often mothers are overloaded with multiple sometimes conflicting expectations, bombarded with society’s views of how a mum should be or behave and feel, sometimes making her voiceless. The process of motherhood is incredibly important yet also mundane at the same time. It is multifaceted, deep, powerful, has dangerous elements and can be a bit more alien than you would expect it to be at the start. This panel is purposely opposing this idea of an iconic mother, contemplating motherhood in a non romanticised, cliché view but rather an empathetic, supportive one of understanding and seeing the work and context and some beauty in the good, the bad and the ugly to give mothers space to just ‘be’. To show respect and appreciation of the work especially the emotional part of it and with that nurture them to be able to nurture the next generation.

Artist: Stephanie Whatley
My personal path to glass has not been a direct one. Originally from Germany I trained in a subject more related to psychology and therapy. With a focal point in Art Therapy I explored different artistic methods and processes. Very quickly I realised that my interest gravitated towards larger scale and manually influenced processes. For the first time I experimented with stick welding techniques. Due to limitations of materials at this time, my artistic expression became a problem-solving exercise which suited my personal interest. 2005 I took classes in stained glass and metal work in Hokitika, New Zealand. Where my husband and I lived at this point. While I had not developed an expressional style, I thoroughly enjoyed exploring the possibilities and limitations of both materials. 2012 I started my business Biggar Glass Works.
Email: biggarglassworks@gmail.com
Detail: Painted leaded panel
Price: £7142
Photo Credit: Tim Kirman
Dimensions: 70 x 70 cm

Forrest of Hidden Secrets

Scotland is known for its iconic pine trees. A country rich in history but also folklore and myth. Old trees and forests full of wildlife plus changeable weather and dramatic skies invite locals as well as visitors to dream and immerse oneself in the hidden or forgotten stories of this country. This panel is touching on the feeling that Scottish landscapes can evoke and what makes it so unique and magical..

Artist: Stephanie Whatley
My personal path to glass has not been a direct one. Originally from Germany I trained in a subject more related to psychology and therapy. With a focal point in Art Therapy I explored different artistic methods and processes. Very quickly I realised that my interest gravitated towards larger scale and manually influenced processes. For the first time I experimented with stick welding techniques. Due to limitations of materials at this time, my artistic expression became a problem-solving exercise which suited my personal interest. 2005 I took classes in stained glass and metal work in Hokitika, New Zealand. Where my husband and I lived at this point. While I had not developed an expressional style, I thoroughly enjoyed exploring the possibilities and limitations of both materials. 2012 I started my business Biggar Glass Works.
Email: biggarglassworks@gmail.com
Detail: Painted leaded panel
Price: £1400
Photo Credit: Tim Kirman
Dimensions: 92 x 53 cm

Scots Pine

SOLD Pine Trees and Crows

Artist: Stephanie Whatley
My personal path to glass has not been a direct one. Originally from Germany I trained in a subject more related to psychology and therapy. With a focal point in Art Therapy I explored different artistic methods and processes. Very quickly I realised that my interest gravitated towards larger scale and manually influenced processes. For the first time I experimented with stick welding techniques. Due to limitations of materials at this time, my artistic expression became a problem-solving exercise which suited my personal interest. 2005 I took classes in stained glass and metal work in Hokitika, New Zealand. Where my husband and I lived at this point. While I had not developed an expressional style, I thoroughly enjoyed exploring the possibilities and limitations of both materials. 2012 I started my business Biggar Glass Works.
Email: biggarglassworks@gmail.com
Detail: Painted leaded sculpture
Price: £150
Photo Credit: Tim Kirman
Dimensions: 32 x 15 x 7 cm

Mould Juice

SOLD These 3 bowls celebrate the Scottish physician- scientist, Alexander Fleming, who discovered the world’s first bacteria killer, Penicillin. When an uncovered Petri dish became contaminated with mould, Fleming observed dying bacteria among the mould colonies. He later learned that the mould produced a self-defence chemical, ‘mould juice penicillin’, that could kill bacteria. I used combinations of silver-reactive glass to create halos which mimicked the appearance of moulds. Unlike the ‘real’ moulds, these variegated halos added colours, patterns and depth to these colourful bowls, making them unique, dynamic and most importantly, appetising.

Artist: Christina Yip
Glass art is an extremely addictive ‘hobby’. When I am not at my day job, as a Consultant Breast/ Plastic Surgeon, my mind is frequently consumed by ideas of creating colourful and functional glass art. The technical challenges in glass creation motivate me to strive for improvements and hopefully one day, ‘perfection’ in this art. I use a range of hot and cold glass techniques to make bespoke glass for people’s home and every year, I enjoy donating my glass work to chosen charity projects.
Email: christinaoyyip@gmail.com
Website: https://scottishglasssociety.com/author/christinaoyyip/
Detail: Fused and kiln formed glass with silver inclusions
Price: £310
Photo Credit: Artist
Dimensions: 13 cm dia (each)

The Diagonal of Square

SOLD This piece was inspired by Charles Rennie Mackintosh (1868-1928), the Scottish artist, designer and architect. This round plate has two contrasting corners; comprising colourful mini-squares at one end and black lined square at the opposite end. A combination of hot and cold glass technique was used to create this yellow-based plate; a colour that I am particularly fond of.

Artist: Christina Yip
Glass art is an extremely addictive ‘hobby’. When I am not at my day job, as a Consultant Breast/ Plastic Surgeon, my mind is frequently consumed by ideas of creating colourful and functional glass art. The technical challenges in glass creation motivate me to strive for improvements and hopefully one day, ‘perfection’ in this art. I use a range of hot and cold glass techniques to make bespoke glass for people’s home and every year, I enjoy donating my glass work to chosen charity projects.
Email: christinaoyyip@gmail.com
Website: https://scottishglasssociety.com/author/christinaoyyip/
Detail: fused and kiln formed glass
Price: £210
Photo Credit: Artist
Dimensions: 28 cm dia