Exhibition
Glass Skills: Cutting Edge Showcase 1
Welcome to our series of pop-up exhibitions of outstanding glass art.
As part of our Glass Skills year of celebration, we’ve launched a series of Cutting Edge Showcases – four online exhibitions that each present the work of four artists.
Dedicated to presenting the work of CGS members, the shows provide an intense burst of cutting edge art that will be permanently accessible in the CGS Online Gallery collections at www.cgs.org.uk. Exhibiting their work in the first Glass Skills showcase are Joseph Cavalieri, Jonathan Harris, Heike Brachlow and Simon Hopkinson.
Glass Skills encompasses a whole year of exhibitions that explore the part that glassmakers play in keeping ancient skills alive, and in adapting them to create innovative and original art for today. As well as major CGS-organised events, there are linked exhibitions with some of the most important organisations and galleries in the UK.
Highlights include the best in contemporary blown, hot-worked and sand-cast glass at Hot Glass: new work from the furnace, being held at Contemporary Applied Arts in London from April 19 to May 25. And, in October 201, the Glass Skills conference at the National Glass Centre in Sunderland will explore the fusion of art and technique.
Jonathan Harris a second generation studio glassmaker.
Following a BA Hons he was apprenticed into the family glassmaking business, rising to managing director. In 1999 he set up his own glassmaking studio at the Coalport China Museum, Shropshire.
Driven by the fusion of craftsmanship & technology, he’s researched, developed and refined a repertoire of complex hot & cold glassmaking techniques, focussing on gräal & hand carved cameo.
His work is historically referenced with inspiration taken from Galle, Carder & the cameo carving genius of George & Thomas Woodall. Through innovative techniques strives to capture a sense of atmosphere & narrative through surface & substrate decoration.
Enthusiastically exploring the creative potential of glass drives Jonathan’s passion. He fuses detailed graphic imagery with the molten fluidity of hot glass & creates one of a kind commission pieces for galleries & collectors worldwide.
Jonathan Harris Studio Glass
Coalport China Museum
Coalport High Street
Ironbridge
Shropshire
TF8 7HZ
01952 246381 jonathan@jhstudioglass.com
www.jhstudioglass.com
Jonathan Harris a second generation studio glassmaker.
Following a BA Hons he was apprenticed into the family glassmaking business, rising to managing director. In 1999 he set up his own glassmaking studio at the Coalport China Museum, Shropshire.
Driven by the fusion of craftsmanship & technology, he’s researched, developed and refined a repertoire of complex hot & cold glassmaking techniques, focussing on gräal & hand carved cameo.
His work is historically referenced with inspiration taken from Galle, Carder & the cameo carving genius of George & Thomas Woodall. Through innovative techniques strives to capture a sense of atmosphere & narrative through surface & substrate decoration.
Enthusiastically exploring the creative potential of glass drives Jonathan’s passion. He fuses detailed graphic imagery with the molten fluidity of hot glass & creates one of a kind commission pieces for galleries & collectors worldwide.
Jonathan Harris Studio Glass
Coalport China Museum
Coalport High Street
Ironbridge
Shropshire
TF8 7HZ
01952 246381 jonathan@jhstudioglass.com
www.jhstudioglass.com
Jonathan Harris a second generation studio glassmaker.
Following a BA Hons he was apprenticed into the family glassmaking business, rising to managing director. In 1999 he set up his own glassmaking studio at the Coalport China Museum, Shropshire.
Driven by the fusion of craftsmanship & technology, he’s researched, developed and refined a repertoire of complex hot & cold glassmaking techniques, focussing on gräal & hand carved cameo.
His work is historically referenced with inspiration taken from Galle, Carder & the cameo carving genius of George & Thomas Woodall. Through innovative techniques strives to capture a sense of atmosphere & narrative through surface & substrate decoration.
Enthusiastically exploring the creative potential of glass drives Jonathan’s passion. He fuses detailed graphic imagery with the molten fluidity of hot glass & creates one of a kind commission pieces for galleries & collectors worldwide.
Jonathan Harris Studio Glass
Coalport China Museum
Coalport High Street
Ironbridge
Shropshire
TF8 7HZ
01952 246381 jonathan@jhstudioglass.com
www.jhstudioglass.com
Jonathan Harris a second generation studio glassmaker.
Following a BA Hons he was apprenticed into the family glassmaking business, rising to managing director. In 1999 he set up his own glassmaking studio at the Coalport China Museum, Shropshire.
Driven by the fusion of craftsmanship & technology, he’s researched, developed and refined a repertoire of complex hot & cold glassmaking techniques, focussing on gräal & hand carved cameo.
His work is historically referenced with inspiration taken from Galle, Carder & the cameo carving genius of George & Thomas Woodall. Through innovative techniques strives to capture a sense of atmosphere & narrative through surface & substrate decoration.
Enthusiastically exploring the creative potential of glass drives Jonathan’s passion. He fuses detailed graphic imagery with the molten fluidity of hot glass & creates one of a kind commission pieces for galleries & collectors worldwide.
Jonathan Harris Studio Glass
Coalport China Museum
Coalport High Street
Ironbridge
Shropshire
TF8 7HZ
01952 246381 jonathan@jhstudioglass.com
www.jhstudioglass.com
Originally from Germany, Heike Brachlow started working with glass in New Zealand in a small glassblowing studio. She received her BA in 2004 from the University of Wolverhampton and her MA in 2006 from the Royal College of Art, where she has also earned her PhD in 2012. She now works as a studio artist, educator and researcher.
In her work, Brachlow explores the interaction of colour, form and light in solid transparent glass. Her current series of work has evolved from colour tests developed during her PhD research at the Royal College of Art, where she developed methods to create glass colour in a kiln in a studio environment. In this new work, she has returned to a playful exploration of existing colour palettes.
Dr. Heike Brachlow
Parndon Mill
Harlow
Essex
CM20 2HP
Mobile 07940 817019
heike.brachlow@network.rca.ac.uk
www.heikebrachlow.com
Originally from Germany, Heike Brachlow started working with glass in New Zealand in a small glassblowing studio. She received her BA in 2004 from the University of Wolverhampton and her MA in 2006 from the Royal College of Art, where she has also earned her PhD in 2012. She now works as a studio artist, educator and researcher.
In her work, Brachlow explores the interaction of colour, form and light in solid transparent glass. Her current series of work has evolved from colour tests developed during her PhD research at the Royal College of Art, where she developed methods to create glass colour in a kiln in a studio environment. In this new work, she has returned to a playful exploration of existing colour palettes.
Dr. Heike Brachlow
Parndon Mill
Harlow
Essex
CM20 2HP
Mobile 07940 817019
heike.brachlow@network.rca.ac.uk
www.heikebrachlow.com
Originally from Germany, Heike Brachlow started working with glass in New Zealand in a small glassblowing studio. She received her BA in 2004 from the University of Wolverhampton and her MA in 2006 from the Royal College of Art, where she has also earned her PhD in 2012. She now works as a studio artist, educator and researcher.
In her work, Brachlow explores the interaction of colour, form and light in solid transparent glass. Her current series of work has evolved from colour tests developed during her PhD research at the Royal College of Art, where she developed methods to create glass colour in a kiln in a studio environment. In this new work, she has returned to a playful exploration of existing colour palettes.
Dr. Heike Brachlow
Parndon Mill
Harlow
Essex
CM20 2HP
Mobile 07940 817019
heike.brachlow@network.rca.ac.uk
www.heikebrachlow.com
Originally from Germany, Heike Brachlow started working with glass in New Zealand in a small glassblowing studio. She received her BA in 2004 from the University of Wolverhampton and her MA in 2006 from the Royal College of Art, where she has also earned her PhD in 2012. She now works as a studio artist, educator and researcher.
In her work, Brachlow explores the interaction of colour, form and light in solid transparent glass. Her current series of work has evolved from colour tests developed during her PhD research at the Royal College of Art, where she developed methods to create glass colour in a kiln in a studio environment. In this new work, she has returned to a playful exploration of existing colour palettes.
Dr. Heike Brachlow
Parndon Mill
Harlow
Essex
CM20 2HP
Mobile 07940 817019
heike.brachlow@network.rca.ac.uk
www.heikebrachlow.com
Joseph Cavalieri’s award winning work has been exhibited in art galleries and museums in the U.S., Europe, India and Australia,
including the Museum of Arts and Design (permanent collection) in New York. His first career was Art Directing magazines in Manhattan.
Now, as a full time artist and teacher, he mixes this graphic concepts with contemporary stained glass techniques.
Presented in a traditional triptych form, this work uses Medieval techniques of painting and kiln firing enamels onto glass.
Contemporary techniques, such as airbrushing, is also used. Historic religious paintings typically show Madonna caressing the Baby
Jesus. Here, a modern day Madonna coddles a Gothic style Prada shoe. This work illustrates a story of how Madonna would live now,
in the 21st century, and questions "Has fashion replaced motherhood?"
Contact details
Joseph Cavalieri
216 East 7th Street, no 10
NYC 10009
(c) 001.212.925.2377
web: cavaglass.com
e-mail: cavaglass@gmail.com
Joseph Cavalieri ’s award winning work has been exhibited in art galleries and museums in the U.S., Europe, India and Australia,
including the Museum of Arts and Design (permanent collection) in New York. His first career was Art Directing magazines in Manhattan.
Now, as a full time artist and teacher, he mixes this graphic concepts with contemporary stained glass techniques.
Contact details
Joseph Cavalieri
216 East 7th Street, no 10
NYC 10009
(c) 001.212.925.2377
web: cavaglass.com
e-mail: cavaglass@gmail.com
Joseph Cavalieri’s award winning work has been exhibited in art galleries and museums in the U.S., Europe, India and Australia,
including the Museum of Arts and Design (permanent collection) in New York. His first career was Art Directing magazines in Manhattan.
Now, as a full time artist and teacher, he mixes this graphic concepts with contemporary stained glass techniques.
Contact details
Joseph Cavalieri
216 East 7th Street, no 10
NYC 10009
(c) 001.212.925.2377
web: cavaglass.com
e-mail: cavaglass@gmail.com
Joseph Cavalieri’s award winning work has been exhibited in art galleries and museums in the U.S., Europe, India and Australia,
including the Museum of Arts and Design (permanent collection) in New York. His first career was Art Directing magazines in Manhattan.
Now, as a full time artist and teacher, he mixes this graphic concepts with contemporary stained glass techniques.
Contact details
Joseph Cavalieri
216 East 7th Street, no 10
NYC 10009
(c) 001.212.925.2377
web: cavaglass.com
e-mail: cavaglass@gmail.com
Creative practice: Techniques for trapping air decoration within molten glass can be fraught with problems. They often involve labour intensive and risky procedures. If overworked the air can move and the image lost.
My practice involves a lot of pre-planning, cold working and co-ordination with skilled blowers. It begins with having glass blanks blown, often with layers of internal colour. I then use variations of the graal technique to draw the image and cut masks for sandblasting into the surface. This requires many hours of work and often involves sand blasting depths of 5 millimetres or more. I then return the decorated blank to the glass blower for reheating, casing and shaping to trap the air decoration. This is always done under personal supervision.
My work aims to combine complex imagery with simple forms. I hope the results invite viewers to look into my glass forms and not just at them. The imagery that I use is a personalised vocabulary of abstract symbols that seem archaic and mystical. They float within the heavy glass mass and generate fascinating optical effects. It is this refraction and reflection of the symbolic imagery that I seek to explore. No other medium can achieve this.
www.simoncarterhopkinson.com
sihop@btinternet.com
Creative practice: Techniques for trapping air decoration within molten glass can be fraught with problems. They often involve labour intensive and risky procedures. If overworked the air can move and the image lost.
My practice involves a lot of pre-planning, cold working and co-ordination with skilled blowers. It begins with having glass blanks blown, often with layers of internal colour. I then use variations of the graal technique to draw the image and cut masks for sandblasting into the surface. This requires many hours of work and often involves sand blasting depths of 5 millimetres or more. I then return the decorated blank to the glass blower for reheating, casing and shaping to trap the air decoration. This is always done under personal supervision.
My work aims to combine complex imagery with simple forms. I hope the results invite viewers to look into my glass forms and not just at them. The imagery that I use is a personalised vocabulary of abstract symbols that seem archaic and mystical. They float within the heavy glass mass and generate fascinating optical effects. It is this refraction and reflection of the symbolic imagery that I seek to explore. No other medium can achieve this.
www.simoncarterhopkinson.com
sihop@btinternet.com
Creative practice: Techniques for trapping air decoration within molten glass can be fraught with problems. They often involve labour intensive and risky procedures. If overworked the air can move and the image lost.
My practice involves a lot of pre-planning, cold working and co-ordination with skilled blowers. It begins with having glass blanks blown, often with layers of internal colour. I then use variations of the graal technique to draw the image and cut masks for sandblasting into the surface. This requires many hours of work and often involves sand blasting depths of 5 millimetres or more. I then return the decorated blank to the glass blower for reheating, casing and shaping to trap the air decoration. This is always done under personal supervision.
My work aims to combine complex imagery with simple forms. I hope the results invite viewers to look into my glass forms and not just at them. The imagery that I use is a personalised vocabulary of abstract symbols that seem archaic and mystical. They float within the heavy glass mass and generate fascinating optical effects. It is this refraction and reflection of the symbolic imagery that I seek to explore. No other medium can achieve this.
www.simoncarterhopkinson.com
sihop@btinternet.com
Creative practice: Techniques for trapping air decoration within molten glass can be fraught with problems. They often involve labour intensive and risky procedures. If overworked the air can move and the image lost.
My practice involves a lot of pre-planning, cold working and co-ordination with skilled blowers. It begins with having glass blanks blown, often with layers of internal colour. I then use variations of the graal technique to draw the image and cut masks for sandblasting into the surface. This requires many hours of work and often involves sand blasting depths of 5 millimetres or more. I then return the decorated blank to the glass blower for reheating, casing and shaping to trap the air decoration. This is always done under personal supervision.
My work aims to combine complex imagery with simple forms. I hope the results invite viewers to look into my glass forms and not just at them. The imagery that I use is a personalised vocabulary of abstract symbols that seem archaic and mystical. They float within the heavy glass mass and generate fascinating optical effects. It is this refraction and reflection of the symbolic imagery that I seek to explore. No other medium can achieve this.
www.simoncarterhopkinson.com
sihop@btinternet.com