Artist Residency and Commission Brief: Decolonising Natural History

Artist Residency and Commission Brief: Decolonising Natural History

Delfina Foundation in partnership with the Horniman Museum and Gardens is delighted to announce an open call for a UK-based artist
Closing date: 5 Feb 2021

The Horniman Museum and Gardens, in partnership with the Delfina Foundation, are offering a three-month residency opportunity to a UK based artist, as part of the institution’s ongoing decolonial work, to engage with its Natural History collection and produce a new commission for the museum’s ‘Inspired by Nature’ space.

The Horniman’s early collections, assembled by Victorian tea trader Frederick Horniman were mostly acquired in the mid-late 1800s and early 1900s during the peak of British colonial rule. This includes thousands of specimens still held in our Natural History collection.

Collections were key to the advancement of Western scientific knowledge and understanding. Many also served to control, promote and justify the expansion of the colonial enterprise. Colonial collecting was not always equitable, or often acknowledged, even today. This has led to calls for greater acknowledgement and representation for those whose voices and contributions were often left out.

This residency will be twelve-weeks, and take place in spring 2021 (29 March – 18 June 2021) during Delfina Foundation’s Collecting as Practice season, with the engagement between the selected artist and the Horniman running from 29 February – early December 2021. Artwork for the commission needs to be completed by October and ready for installation in early December 2021.

Job Opportunity

CGS announces Calum Dawes as the winner of the 2021 Amanda Moriarty Prize.

CGS announces Calum Dawes as the winner of the 2021 Amanda Moriarty Prize.

Every year, the Contemporary Glass Society offers a prize to enable one of its members to achieve something unique. The prize is in memory of Amanda Moriarty, a long serving Board member and Honorary Treasurer who sadly passed away in 2017 and it celebrates her passion and encouragement of glass making. The Amanda Moriarty Prize enables one glass artist to fulfil a creative ambition or add to their technical skill set – a dream that would not be possible without this Prize.

This year’s winner is Calum Dawes who graduated from the University of Sunderland in 2019 with a BA Glass & Ceramics. In the same year, he won the Glass Sellers Art & Craft Student Award and was placed third in the Contemporary Glass Society 2019 Glass Prize.

This year, Wiltshire based Devereux & Huskie Glassworks is providing a 4 day residency in their studio. James Devereux and Katherine Huskie, both accomplished glass artists in their own right, also facilitate other designers and glass makers to make work. Calum will have the opportunity to extend his practice with the assistance of both James and Katherine.

A delighted Calum explains, “I’m really grateful for this opportunity, it will allow me to explore the body of work I have been developing throughout lockdown and this year in general. Hopefully, I can produce something really exciting with the support of CGS and Devereux & Huskie. Can’t think of a better way to start 2021!”

With the resulting new glass artwork, Calum intends to then apply for The Cheongju International Craft Biennal, 2021 or – if that is not feasible due to scheduling/ Covid restrictions – the British Glass Biennale in 2022.

Calum’s application included the following information:

“This work is a continuing development of my love of illustration and glass as a sculptural material.

The form and optical qualities of the glass interact with the illustrations in a way other materials don’t, while the imagery lends the piece narrative and context.

It is a body of work I have been developing on my own time, but I have hit a wall due to makingthem on my own and having to try to fit within the busy workshop schedule. These pieces are athree-stage  process: first the bowl is blown, then they are painted with high fire vitreous enamelsafter w hich they are picked up in the hotshop. The painting is fired on and then the bowl stuffed with a mass of molten glass in order to fill it. Finally, sculptural elements are added right before the piece is put away. Initially they were designed in this manner for me to be able to produce under current limitations and I have made several of these pieces. However, I have found I have reached a limit in size and complexity, partly due to the workshop schedule (inadequate time to anneal a thicker piece) and partly due to not having much access to assistance.

During this residency I would hope to use Katie and James’ extensive wealth of knowledge and experience to help troubleshoot issues in the making of this work on a larger scale. As well as their practical and technical skills to improve my own making of these pieces in the future. I would like to gaff the pieces, to push myself and my glass making skills, using this opportunity to develop new skills whilst developing this idea.

For further details on this please contact

“Glass Lifeforms 2021” Call for Artists

There are some excellent opportunities around just now for glass artists! Here at CGS keep researching and looking for opportunities to share with you!
“Glass Lifeforms 2021” will be an exhibition of the best biological glass models made in the spirit of the famous 19th and 20th century models of invertebrates and plants made by the father and son team, Rudolf and Leopold Blaschka for the Harvard University’s Botanical Museum. Models are mandated to be of specific species and rendered as accurately as possible, but artistic presentation and creative contexts are strongly encouraged. Artists working in any glass technique (flameworking, glassblowing, casting, pâte de verre, etc.) are invited to submit an entry (one per artist or collaborative team). The jurying criteria will be based on accuracy in representing the organism, aesthetic beauty, presentation, and originality. 50 pieces will be selected from the work submitted for the show.

Venice and American Studio Glass at Le Stanze del Vetro, San Giorgio, Venice

Venice and American Studio Glass at Le Stanze del Vetro, San Giorgio, Venice
“This is one of the most important exhibitions in the history of studio glass and arguably the most important. It could also have a significant impact on the future of glassmaking in Murano. The exhibition closed on the evening of 10th January. What however does “closed” mean because it was hardly ever open. It is, however, as open as it’s ever been – virtually.
Below are the links to the materials connected with the exhibition. If you do nothing else, take the tour and watch the closing webinar. Having said that there are so many good videos in the Venice Glass Week; the only solution is a binge watch!
We have David Landau , a passionate collector of Venini, to thank for creating the wonderful exhibition space, Le Stanze del Vetro as well as being the inspiration and philanthropist of the exhibition. If you go to Venice, I highly recommend visiting Le Stanze on the island of San Giorgio.”

There’s still time to apply for merit-based scholarships!

There’s still time to apply!

Accepted MFA applications submitted by January 15th are eligible for merit-based scholarships that culminate in either tuition reduction or remittance! … and paid graduate assistantships!

Follow this link to apply:


Sculptural Slumping Masterclass

21-23 May 2021, 10am to 4.30 (Fri/Sat), 10-3 (Sun)
£395 (max 4 students) Studio located in Surrey GU5 9LL

Covid 19 NOTE: the course may be limited to 3 students depending on health restrictions at the time. Attendees are asked to bring their own masks and required to wash their hands as they enter the studio.

The world around us is constantly moving but how do we show this in our glasswork? By capturing the energy and pull of gravity on warm glass in the kiln, it is possible to imbue both fused and cast objects with spontaneous, natural movement. The aim of this course is to explore ways to control the fall of glass and extend the range of shapes achievable with an interesting mix of moulds or props. We’ll also probe why movement is important to your work and look at the work of other artists using slumping to create unique and dynamic sculpture. Be ready to think upside down and out of the box!

Processes include slip cast ceramic prop construction (like store bought slumpers but your own design), hardened fibre blanket and refractory mould forms to guide shape. These techniques will be covered step-by-step and will begin to widen your options for making freeform sculptures. Essential kiln programming schedules will be provided and discussed. All materials are supplied but you’ll need to bring your own glass. This is an intermediate to advanced course. An accommodation list is available if you need to stay in the area. Coffee and tea are provided and we’ll go to a nearby pub for lunch. Please get in touch if you have any queries including experience level. More information is on the website or email me for booking form and course details.

Please email Lisa for more information and booking forms
More course information at

With a BA Hons in 3D Glass Design from UCA Farnham, Lisa Pettibone has been teaching glass-making courses for 13 years from her studio in Surrey and at The Glass Hub in Wiltshire. She taught a Slumping Masterclass at the International Festival of Glass in Stourbridge in 2015 and also teaches at The Glass Hub in Wiltshire. Exhibiting regularly in the UK and abroad, she has been shortlisted for national and international prizes and won the National Art Prize Installation category in 2017. She has an MA in Art and Science from Central Saint Martins in London.

Take a virtual tour of the National Glass Centre’s exhibition – “No Strings”

There are some brilliant virtual art and glass art exhibitions around at the moment…so you can view great art from the comfort of your living room!!
Take a virtual tour of the National Glass Centre’s exhibition – “No Strings- an interesting look at what artists can create with tiny glass beads”-
No Strings
Beads in a Modern Context
No Strings should have opened to the public back in March 2020 but was unable to due to the Covid-19 closure of National Glass Centre. Our curator Julia Stephenson has recorded a short video tour of the new exhibition so you can ‘visit’ from the comfort of home. We hope you enjoy it.
The first glass beads were made one at a time by winding hot glass around a metal rod. To support a faster and greater production process, molten glass was blown and drawn out to form long, hollow tubes, which were cooled and cut into small, even beads (rocaille). In the 15th century, this technique was refined by the master glassmakers on Murano in Italy to make tiny beads for embroidery, an industry which continued well into the 20th century in Italy, Czechoslovakia, Germany and France. Today, glass beads are primarily made in countries including India, the Czech Republic, Japan, China and Taiwan.
‘No Strings’ features the work of seven international artists working with glass beads in unconventional ways. The exhibition will include a beaded burger and coke by Faranak Sohi, an evening dress made using beads and safety pins by Shige Fujishiro and a beaded chicken showing his gymnastic prowess on the rings by Felieke van der Leest.

Introducing Art by Fire

The red-hot artists over at @ArtbyFireGlass (via @DT_Issaquah ) have openings for their upcoming Virtual Glass Blowing classes!
It’s your chance to make your very own Snow Folk! Participate via live stream or in person from the viewing area. Learn more at

Art by Fire –

art by fire – is a glass school and gallery on Front Street in Issaquah WA 98027 United States. They teach glassblowing and lampworking and enjoy sharing their love of glass with everyone!
Artbyfire was founded in 1997 by Renée Robbins Pound and Lenoard Whitfield. Renee and Lenoard sought to create a gallery and studio conducive for students and artists to be able to create and sell their work. Art by Fire was originally located in Ballard but after several years, Art by Fire moved to Issaquah.
There is usually glassblowing happening from 9-6 Wednesday to Sunday.
@thecontemporaryglasssociety is delighted to be able to share their workshops, courses and passion for making!

CALL FOR ARTISTS FOR “A POSTCARD FROM…..” A show inspired by Alan J Poole and a CGS selling online exhibition

A show inspired by Alan J Poole and a CGS selling online exhibition
Deadline for submissions is Monday, 8th February.
Get those creative minds working!!!!
Through these difficult times, our minds sometimes wander to happy days, holidays and gatherings or just places we love to visit. So here we are – back in lockdown and this is an opportunity to create something wonderful to remind us all of future travels to places near and far or to visits with family and friends.
Alan invites you to make a small piece (or have one already) with a view or reference to somewhere that means something to you. The piece should be a maximum size of 15 x 15cms.
Your postcard should ideally be made from glass. However, we understand that for some of you access to your studio and materials may be impossible. If that is the case, please take this as a chance to create something out of any materials that you have to hand!!!
All pieces of work are for sale at £50, £100 or £150.
Deadline for submissions is Monday, 8th February.
Upload your application and image HERE:
This will be an online show, so don’t forget good photographs are vital.