We thought we could all do with something to brighten up the winter months of January and February and bring in something to make us dream of sun and warmth!
The theme for this online gallery show is simple. Something yellow!
60 CGS members were chosen for the show, highlighting varied and delightful bursts of colour using vibrant yellows within glass.
This online exhibition was launched on 5th of February 2016
We had an overwhelming number of entries for this show, so thank you to all those that submitted work and if your work was not selected this time, please do apply for the next show in the coming weeks.
Conical bowl made from Bullseye Coarse Frit, inspired by the first daffodil in my garden of 2015. Made 2015. Photographer:Lois Parker.
Made using Artista Desag glass, fused in a mould.
Size 12cm x 8.5 cm x 3cm
Cast glass sculpture
A frit-painted bee is hovering over a honeycomb which depicts the chemical compound of the pesticide known to be killing bees the world over. In the background are "ghost bees" that are disappearing due to the over-use of this pesticide.
Deep bowl hand blown in 24%lead crystal with gold casing. Sandblasted decoration of individually drawn dragonflies.
Fused glass plate. Sunflower depicted in opaque yellow tones from flat glass, stringers stringers and frits.
Lost Wax casting with painted wooden cube
Small, shallow bowl, blown to my design by Potter Morgan Glass, only 12cm diameter x 4 cm high, cut, polished and wheel engraved 2015. Sold at my solo show "All the Year Round" at the Scottish Gallery, December 2015.
Fused glass pendant.
I interpret landscapes through exploration of material. I focus on rugged coastlines, looking at erosion as a spectacle of discovery and generation of form, revealing a sense of the history and movement of a place. The work is produced using my ‘Lost Ice Process.’ I use salt to sculpt ice as a one-off ephemeral model to take a direct cast from. The textures this provides and the transient nature of the creative process reflects the erosion and sense of time I want to represent in the landscape.
Landscape Portrait is based on the Dorset coastline.
deep vessel, glass sheet, vitrograph stringer and rod; 16cm height; 13cm diameter. These charming and familiar insects are a delight to watch and to hear their deep 'buzz' is the epitome of summertime. They are also critical to pollination; most UK species have suffered serious decline. Raising awareness of their plight, we might help them recover.
The sacred halo of divinity belongs to anyone.
The intense warm yellow circle point the spiritual side of the creative process.
The art of crafting it's the art of creation and it's always the expression of our inner buddhahood.
This panel it's part of a body of work about Iconography, where I research on ways to portrait the human soul and emphasize the spiritual side of the person.
Layers of clear and coloured fused glass with pure silver and enamel inclusions
A small brooch, approx 1.5"x 2". Bullseye glass fused with dichroic pieces. 2015
This work is a fine example of Robert Crumb’s long obsession with women with strong legs. Mr. Crumb agreed to let Cavalieri use some of his iconic images in his glass work. They were produced during Cavalieri’s three month residency at the Museum of Arts and Design in Manhattan. The challenge with these works was to reproduce as close as possible a pen & ink drawing to hand painted enamel on glass. This panel is based on comic book cover and is hand painted and set in a light box with LED lights.
My current work explores the nature of interaction between people and objects on an emotional level. I seek to understand and explore why some objects and symbols have an emotional language for the viewer and how mundane objects can become deeply personal with the association of sentimentality and memory.
Cast Glass with found objects
Taking cues from the concept of the beach as a liminal space, where boundaries between sea and land are blurred, my Liminal Beach series has evolved as a collection of decorative and sculptural centrepieces cast in lead crystal. Variance of thickness and the blending of colours has been achieved through the use of glass with a high lead content. Details of textural imprints left from ebb and flow of the tide upon the sand have been highlighted to achieve depth in the centre and delicacy at the edge.
Mould making is the start of the process to create fluid, textural forms which are invested into plaster. Casting and shaping takes place within a kiln at precise temperatures to achieve textural details and highlight surface qualities and reflections through the glass.
An abstract view of the base of a free blown sculptural (Sommerso) vessel.
Inner casing of daffodil yellow with a very thick clear outer casing.
The form was manipulated hot whilst on the blowing iron in order to create surface undulations.
I never overlook the significance of the base of blown pieces - the polished hollowed punty
accentuates the optical properties of the material.
It's fun photographing work from different angles -quite educational and full of pleasant surprises!
Year - 2014.
Tack fused cityscape depicting London by Night. Materials: Bullseye glass, dichroic glass, stringers, glass powder, copper sheet, glassline paper and decals. Made in 2016.
Created with Bullseye glass and stringers
This piece incorporates painted and etched details. It is set in an oak base and uses zinc as well as lead came to add rigidity to the piece.
It is roughly 93 by 84cm.
The Sherbet Lemon Dish is one of a series finding inspiration from some
of our favourite sweets.
Made in 2014.
Inspired by the ornament & traditions of English 19th century cameo glass, my 'Cameo Series' follows the familiar motif of the bird as it escapes from its 19th century scenery and explores new surroundings. Decorative floral motifs, inspired by original cameo designs, have been infiltrated by modern day imagery.
Approximate 40cm x 35cm
Bright, bold colours underpin this popular range of home-ware products. The tactile nature of the glass demands the viewer to pay closer attention, upon which interesting textures and bubbles are revealed within.
Wall panel of large yellow leaves. Clear float glass with inclusions of precious metal leaf, wire and metal foils.
Bullseye glass, powder and silver leaf.
30cm x 30cm
A striking sunflower panel made using a combination of Spectrum and Kokomo glass.
Description: This is one of my a series of my mosaics showing teh State Birds of America. Every State in the US has a State.
The Goldfinch is the State Bird of Iowa.
SHIZUKU means drops in japanese.
layered Bullseye glass taken from a sunset photo over the Wiltshire downs
Borosilicate galss, on driftwood base.
29 x 29 x 7cm
From a series of pieces exploring volume, optical effects of surface movement and the mapping of form.
A porthole onto the summer Aegean sea, from a chilly winter studio.
SWEET ARROWS 2, 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"…
THIS PARTICULAR PIECE, FEATURES THE MARTYR OF ST SEBASTIAN, PIERCED WITH ARROWS, SURVIVING AND GOING WILLINGLY AGAIN TO DEATH.HIS MARTYRDOM HIS SWEET OFFERING TO HIS BELIEFS.
Cast glass, wedge form, 36 X 15 X10cm
One of two objects I made during a two week course at the Cesty Sklá Glass school in Sazava, Czech Republic, which was taught by František Janák.The aim, for me, was to explore the creation of simple geometric forms using techniques other than those I was used to (that being blown & cut glass).
Capturing that moment when new growth is seen.
Promises of hope.
Made using the lost wax process. Then cast using bullseye casting billets. The piece is called 'Sweet Nothing' as the characters are meant to look like Jelly Babies
The 3 pieces were cut out of the same "Murrine" bloc.
Inspired by the Grec seashores
The backs of the pieces have different landscapes...
Flying into London Heathrow I was treated to a fine view of the sinuous Thames, glinting in the sunlight. It was the year before the Jubilee and Olympics and I was moved to make an abstract glass image that celebrated the Thames as the gateway to London and its life. I capitalised extracts from poems about the Thames onto kiln felt and used the cut out letters to make the outlines of the buildings crowding around the river. Exhibited with the original photograph, as part of the Helsinki Photography Biennial, 2012.
This fused glass drop-out vessel is made of Bullseye glass and has coldworked edges and an off-centre bottom. To contrast with the bright checked area, I have placed discs of two different yellow shades on transparent silver grey to symbolise sunshine and brightness coming through our grey winter days.
Large light sconce with 2 flying kingfishers on oak base.
My current work has been exploring the potentials of drawing in other mediums. Blown glass allows for more fluid lines and for the drawing to move from being two dimensional to a three dimensional sculptural drawing.
Cheeky little owls made with fused English Antique Glass
the silver stain has been applied through a stencil, and the sandblasted image is on a second layer placed in front of the silver stain, giving a physical depth to the artwork, and allowing the frosted effect to soften the edges of the yellow leaves behind.
A closed blown form, with enamel decoration and copper inclusions and colour trail.
Height 9 inches by 2 and a half inches wide.
Kiln-formed Bullseye glass vessels, using the dropout technique, photographed on a basalt plinth.
Made during 2015
3 Panels of float glass, reminiscent of a stage set, with the silhouettes of 3 dancers against a golden yellow curtain.
Inspired by the client's wish for the room to be filled with daylight and sunshine.
The brief: The bridge at Raera, a jumping salmon, the gorge and waterfall.
H8907mm x W 4107mm. Painted U.V. pigments, layered panels and carved.
Paper-thin pate de verre,Sand blasted,Uroboros glass
Monoprinted pigment and silver stain, using Norway Maple leaves.
Yellow blown embryo. Fired on decal, using image's of my other work. Cased in clear glass.
6 mm float glass - cut, sandblasted, colored, polished and bonded -
sculptures made in 2002 in honor of the women of Afghanistan, forced to wear burkas by the Taliban
The stored warmth of yellow sun enables the hard glass kernel to slowly emerge from the soft feather lined pod. It breaks its cover of winter detritus from hibernation and bursts into growth.
All inspired by a recent walk along the Tissington trail Derbyshire.
Details; Cold worked kiln formed glass with inclusions and ceramic 14cm x 14cm x 8cm
Description; Cold worked kiln formed glass with gold leaf inclusions and high fired ceramic.
This is the start of a body of work bringing together the qualities of two kiln formed materials,
playing with their resistant and non-resistant properties to create balance