European Open Show (open to non-members)
This show is an online European Glass Show (Open to non-members). There is no allotted theme, just a show of contemporary glass from artists living, working or studying in Europe..
45 artists were selected by the CGS committee and we are delighted to share their work.
Thank you to all those that entered work for the show.
The show was launched on the 28th July 2016.
This work creates the illusion of depth and space in an idealised and dramatic landscape which reflects the beauty and tension of the country.
30x30cm. White Powder on clear glass. Bullseye.
Part of series exploring loss.
Cast in glass from the ladle used to feed the inhabitants of Narberth Workhouse, ‘Gruel’ references less celebrated Pembrokeshire lives and has a timeless relevance to poverty and destitution.
Kiln cast glass exploring movement in nature. I like to explore those fleeting moments we gather with our eyes but can never capture with a camera, and reinvent them in the fabulously mercurial medium of glass. Using the interaction of light through the piece to animate the sculpture into life.
Sometimes we know it immediately, sometimes it sinks in a while later: This is an experience, worth remembering a lifetime. The Memory Vessels preserve these magic moments for us and keep them accessible whenever we need a bright spot in dark times. Because the sun is not always in the sky…
Coquet Flyers stands 360mm x 240mm.
Title inspired by a very recent visit to Provence where briefly I was able to forget my loss of European identity
Stained Glass Panel - Constructed using traditional leading techniques - 560mm x 560mm
Self standing, cast glass sculpture depicting the ocean in her constant support of mankind. (28 cm H x 23 cm W x 2 cm D)
I am strongly influenced by the landscape of the west coast of Scotland, particularly the point at which land and sea meet. The intricate surface detail of this piece contrasts with the depth experienced as light filters and shifts through the glass, creating a mini ocean within the urchin itself.
Life size. H. 8cm W. 26cm D. 26cm
The largest species of moth in the world, found in the tropical and sub tropical forests of Southeast Asia; named after either the Titan of Greek mythology, or their map like wings. The Cantonese name translates to ‘Snakes head moth’ due to the wing tips mimicking a snake’s head to prevent bird predation.
The species lacks mouth parts, therefore cannot eat, relying on fat reserves built up during caterpillar stage. The adult moth lives only to reproduce and survives for just a couple or three weeks.
stags head build from individual flat pieces of glass and slotted together with details worked in glass paint
The sculpture was made during a residency undertaken at La Real Fábrica de Cristales de La Granja, (The Royal Glass Factory of La Granja), Spain in 2014-15. The bucket was deracinated from an abandoned building within the factory grounds.
PATE DE VERRE
Permanent collection of Corning Museum of Glass
Fused glass panel, kilnformed, drill engraved and sandblasted
Size: 370mm x 310mm
Made in April 2016
installation, freeze into form sand cast pate de verre and traditional casting
These panels were too big to be made in single pieces in my kiln, so they were made in three or four
sections, and fitted together in double glazed units. Waterjet cutting enabled very accurate joins,
which were disguised within the design.
This piece was the result of a progressive series of developments I have made over the past couple of years, creating new marine-inspired forms through fusing and slumping techniques. I use float glass, to which I apply glass enamel powders (sometimes mixed with oil or water) to create the colours and textures.
The work is comprised of a number of components; each of the components have been made by fusing and sometimes slumping layers of glass together to create the individual forms.
The little shells are created by slumping the layers of coloured glass into miniature moulds which I have made by hand; the shell forms then have their edges machine polished on diamond discs for a beautiful clear finish. THe main bowl is also made in this way.
The anemones are created by cutting and arranging strips of glass (coloured and fused together) over a handmade mould.
Developing the idea of the optical illusions using geometrical shapes and imagery motifs inspired by nature.
Lost Wax Cast sculpture, ground and polished.
Pate de Verre, Mixed media
One of a series of the four Queen court cards, the Royal clubber records her evening and the morning after.
Waterjet cut glass, layered with traditional glass painting, assembled into burnt wooden frame
A pyramid encased in ribbed fabric. The fine black grid creates a barrier,
preventing the clear glass revealing the interior
NEW BRAVES, BELONGS TO THE PANEL EPOS.
A REFLEXION ABOUT THE NEW HEROS IN OUR TIME, THEIR APPROPRIATION OF ICONIC SYMBOLS LIKE HAIRSTYLES (MOHAWK), TATOOS AND PIERCING,FROM ANCIENT OR STILL LIVING CULTURES.
THIS NARCISSISTIC AND PAINFUL PROCESS BECAME A WORLD PHENOMENON, PERMEATING ALL THE CLASSES OF SOCIETY. STARTING WITH SUBCULTURES (PUNK), MOVING TO THE MAINSTREAM WITH HIGH FASHION, ART AND LIFESTYLE. A FEW DECADES AGO, IT WAS VIEWED AS INFAMOUS, VULGAR, OR "EXOTIC"…
THE NEW "HEROES" OR NEW BRAVES,,RIDING SKATES BOARDS INSTEAD OF HORSES ,WITH TATOOS ON THEIR CHEST. ON THIS SCULPTURE, THE IMAGES ARE ON THE FRONT AND IN THE INSIDE OF THE PIECE. REMINESCENCE OF THE CAVES PAINTING. OUR SKINS ARE BECOMING WALLS ON WHICH WE SHOW FEELINGS AND DESIRES.
THE IMAGES ARE APPLY BEFORE AND AFTER INVESTING THE MOLD WITH GLASS. THE HORSE MADE OF WIRE SYMBOLISE THE GHOST-HORSE THEY ARE RIDING…
As a craft practitioner, I engage glass carving and printmaking methodologies to explore concepts of how memory is constructed. This body of work commenced with the recounted story, of a deceased family member whom constructed an untrue memory that he believed for latter part of his life. He believed that he was responsible for the execution of four Irish Volunteers in November 1920. In fact, further research asserts he was not even in the country at the time of the event.
In response to my findings I have selected an everyday object, the rolling pin, referencing the domestic dwelling from which the Volunteers were captured. I converted the rolling pin into a printing device by carving the surfaces of each one with drawings exploring the event. The rolling pin allows for the image created to be repeated through the printing process however each image will vary according to the pressure applied by the user and begins to degrade as the ink dissipates. In the same way as the user can vary the same image of a print; so too can the memories of an individual or a collective be varied through time.
The accompanying tile is cast from cut linoleum. Thus the collection of objects function as printing devices or are made by traditional printing materials.
My work is generally inspired by the strong feelings and frustrations I have about the society we live in, feelings which are seemingly intensified by having children. We live in a world that to me seems to be changing quickly and for the worse around us with societies designed to benefit the few at the cost of the many, the rich are getting richer and the poor are getting poorer. It angers me how people are so easily led, so easily pleased and therefore open to being blinded by what they hear in the media and what they are fed by corrupt politicians. I want my mice to be able to stand strong, determined and proud even though they are fragile and vulnerable. In the past I have tried to give my work a humorous edge; however this piece is a little more serious!
For human beings connections and networking deals are essential in a positive as well as a negative sense. Growing up the bond to the mother is the strongest connection. During your life there is a constant change in relationships to partners, family, friends, in business to bosses, colleagues or business partners.
Connections and networking might be different in private and business life: emotional and intense, neutral and reserved or repaired with a “rope”. Besides the official hierarchy in an organization individual personal connections help a lot to be successful in our modern world and business.
Variations on “ombré” shading, keeping some granularity, but that would work together as a combined piece. “Ombre” was one of the earliest card games known in Europe. Played by three players, any one of whom could declare they were “the man” (“l’hombre”). The pieces are intended to be seen together, as three similar vessels with slightly different shading so no two are alike, nor is any one ‘trump’.
This piece was made from a photograph I took in the lake district of the surface of a tarn after a rain storm.
I made the circular shape with additions for the edges, then made a mould from this shape. I used 4 colours of Gaffer glass including clear
The glass was left in the kiln for about 3 days then I cold worked the flat surfaces. The piece tapers from base to top and the edges were left unworked.
This piece now stands on a marble tile.
Images transcribed in transparent glass (Bullseye)
Fused and slumped.
This is a front view - concave.
The viewer is drawn into the depth of piece.
This work is currently exhibited at Bullseye Portland Gallery: Emerge 2016 finalists.
This piece is an explosion of colour designed to lift the spirits and invite the viewer to touch the surface of the glass. The layering of dichroic glass gives dimension, interest and lots of sparkle.
Made April 2016 in the UK
After re-interpretation, botanical imagery that I have gathered becomes more simplified for screen printing. Using a range of various strength enamels (both Degussa and Reuche), I add layers upon layers of enamels. After this I scratch back into the surface to create intricate details that are similar to those of plants. Once the firing was complete – colours have merged and created painterly effects that are totally unique to that piece of glass. In this picture, I have two layers of glass with different imagery to provide contrast. The enamels creates texture which I want people to be able to feel – also I cut out lots of little discs of colour on waste glass to create a texture and another layer.
float glass, copper wire’s inclusion, thermoforming and silvering / 2014
description of the piece :
"A force-feeding notion.
Looking at our society, driven by overconsumption of goods, fashions, images, but also of people and moments – a larger number of person posting their comings and goings on the internet, twitting, liking or blogging...(etc) almost anything – I imagined a bib for grown people.
Because, in fact, how much of these informations are really absorbed?
What about personal investment of the individual in our society?
BaVoir wears a schematic drawing of a rib cage reminding us of an antique centurion armour, or shield.
BaVoir is silvered in order to reflect the image of the other one, narcissistic and voyeur.
Would it be an object of anticipation for political excesses, a ceremonial bling-bling item of the political figure, an anticorruption or rather anti(self)destruction object?
BaVoir aims to remain ambiguous."
Short Description - Inspired by the Brexit vote and reports of Nexit, Grexit, Frexit, Bexit & Spexit these are 6 of a series of 28 wire bird caricatures made from stained glass cullet, buttons, copper wire
Date made: - July 2016
hort description of piece: I am interested in exploring how artefacts can trigger an emotional response in the viewer. The pastiche takes inspiration from a classic childhood toy to explore memory, loss and how the past can be regained and reclaimed, if only briefly. I use glass to create imagery and form using mainly kiln casting and cold working techniques. My work in glass comes from a profound and deep love of material; its strength and fragility, its ability to gather light and to encapsulate and distort imagery. I am keen to explore using glass in less usual ways, for example by combining with other materials and by exploring properties that are less expected from glass such as movement.
Date made: May 2016
Making Connections VI is one of a series of kiln cast glass and mixed media sculptures that investigates material structures and the junctions between glass and other materials.
This work originates as a solid block of cork, which is broken in two. One half of the cork is invested in refractory mould mix, burnt out and cast. After polishing, the glass and cork seamlessly slot back together.
Joshua’s choice of form, materials and colour are inspired by a variety of sources including; architecture, contemporary design and post-industrial landscapes.
Date of manufacture: May 2016
Country of origin: UK
kiln cast glass; polished; coloured soda-lime glass, 30cmx8cm
Description: Migration and reactions between 2 types of glass. Height 18cm. Width 25cm.
Date: April 2016
This piece encapsulates the quiet and beautiful, but cold landscapes where humans seldom tread.
“Winter Trees” was created from my own concepts and new techniques.
It is presented in a picture frame with internal lighting so the work out shines at night using my Smart Light Frame (SLF).
Description: H 59 cm- blown borosilicate glass, granulated jade green glass, fibreglass
Fused glass, gilded
Country or Origin. Slovenia
Window for Blackpool Central Library (3m x 2m Screen printed & laser etched)
Date made : 2011