Journal

The last few pieces are being made in Swedish Overlay ready for the exhibition which open on 10th October in Danby.

Love this pic, capturing the moment just before the two bubbles touch and are pushed together.

Overlay is a challenging process, with only one way to get it right, and a thousand ways to get it wrong, the most common is air, trapped between the two layers and the process is then abandoned.

The grey ball vase has returned to our shelves. Love this colour with reds, and like the black vase, it suits pretty much all other flowers.

Placing flowers in the vase is easy, either a simple bloom from the garden, a small posey or the hedgerow.

Sundays walk and the colour red appeared in the hedgerows, the Rowan tree was laden with fruit. The boughs heavy with berries, quite incredible.

I've been revisiting pieces from the archive in preparation our exhibition Portrait of Place this October.

The Swiddens of heather on the moor top are a strong feature of the land management of the heather moorland. Though a contentious practice, and one I really don't enjoy living with, the marks made by burning the heather are distinctive and I do find them quite beautiful.

The overlaying of burn and growth are something that lends itself to glass beautifully. I take away layers of coloured glass, eroding the surface, to make the overlay of colour and light.

Winter Light 2017

Taken some images of Stephen making glass this week, this is my current favourite.

Papering the form, preparing it to spin open and make a plate.

It's been confirmed, our solo show will go ahead this October. More details to follow. Join our mailing list for news.

"A Portrait of Place”
North York Moors & Rosedale in contemporary cameo glass.

“The Landscape of the North York Moors has long been an inspiration to artists.

Our exploration and ‘Portrait’ of this landscape observes the geology, rivers systems and the current land management practices which leaves specific marks. The layers of our glass and mark making map and observe the layers of human endeavour, both pre and post-industrial, the marks etched into the land, overlaid and now been reclaimed by natures hand.

Just as changing light illuminates the landscape, light is integral to our work, animating our glass, revealing layers of colours and engraving.

This landscape has evolved, has been sculpted and pressed into service and this is our snapshot in time, a celebration of the now. One certainty is, this landscape will change again as custodians of the land change along with the ideas that inform the management of the world we all share.”