I work in Glass and Ceramics, often combining the materials in a hot state during kiln firing or glassblowing.
What craft do you work with?
I work in Glass and Ceramics, often combining the materials in a hot state during kiln firing or glassblowing. I have worked with glass for 12 years now but have been serious about it for the last 9, fishing an MFA in Glass in December 20221. I got into glass during a one year Applied Arts Course and just fell in love with the material and its versatility. I have always liked to work with ceramics from an early age on. In ceramics I very much enjoy throwing pottery and slip casting, I have recently gotten into glaze development and making glazes from natural ashes. In glass I love working in the hotshop glassblowing and hot glass casting and have developed my practice in Foamglass which is made during a kiln casting process.
What inspires you to work with this craft?
I love that glass has so many different aspects and making techniques, from kiln casting, stained glass to glassblowing and engraving. Ceramics I just love as it is much more accessible than the glass. I like the contrast between the soft cool clay and the lava on a stick when glassblowing. Both crafts matter to me because they allow for new developments and individual artistic expression while linking me to myriads of other crafts people and artists that have gone before me. I feel connected through techniques and materials. Recently I have been predominantly using Foamglass (treated glass, created during kiln firing) as an expression of my art.
How do you start your creative process?
Quite often it starts from a material base, for example I am developing a certain technique in glass casting so I will shape a project around the making/material process. Other times my creative process starts from a more philosophical background and is an expression of personal struggles and journeys. After the initial idea I love to materially experiment. This is probably to most enjoyable part for me, making models, doing kiln tests and testing material compatibility is like a puzzle that eggs me on to find the answers. I really enjoy a good conundrum and like to find solutions to impossibilities. The more impossible a project seems the more hooked I get. I think the most difficult part is knowing when to stop and when something is finished. Its hard sometimes to let something go if it isn’t perfect in my eyes.
How would you best describe your workspace and what tools could you not do without?
I work from a shared ceramics studio in Glasgow. I love having other artists about which whom I can exchange knowledge and ideas. It is a great setup as the big studio is separated into individual spaces so you can be private and work quietly or there is the opportunity to have social interactions when you like. We are a sociable bunch and there is a lot of laughter. For my glasswork I couldn’t do without my micro scales, as I have to weightlifting’s out minuscule amounts of foaming agent. I also would terribly miss my glassblowing tools and protective arm sleeves and the pottery wheels.
Are there new techniques you would like to try?
I am always open and eager to try new things and techniques. Blacksmithing sounds great.
What have you learnt that you would like to share with fellow crafters?
The best advice I can give is to be open to opportunities and to talk to everybody and anybody. If you are interested not just in your own craft you will learn so much from other people. Stick to your guns if you are really convinced about your work and what you are trying to achieve.
What other types of craft do you dream of collaborating with?
I would like to collaborate with as many artists from different disciplines as possible.
What professional dream do you have?
My professional dream is to be exhibited at Corning Museum of Glass.
Glasgow, Scotland, United Kingdom
Material Library entries
These are Materials that were discovered and crafted by the Craft person behind this profile
Azulejo tile glazing
A different approach to traditional Azulejo tile glazing, where plants were used as resists
Painted brick with engobes and leave resist
Use of engobes in red and white to decorate a traditionally made brick
Glazing traditional Azulejo tiles
Inspiration by the local flora and to try something different with the tiles that we were given to glaze
Textured tiles wall piece with engobe glazes
Tile making and glazing
Other Craft Practitioners
I have been sewing since I was a young child.
Emotions have every reason to figure more prominently than the arrogance of logic.
Linear / Breathe (with or without it) / Movement / Morphology of form
Structural, sculptural, space worker
Scottish Glass Artist
George Riad Krohn
Clumsy person, but perfectionist artist
Art After Dark, Swansea College of Art, UWTSD
Craft Hub Workshops at UWTSD