Colette Langan

I enjoy every aspect of the stained glass process, in particular I enjoy; fusing and glass painting.

Q&A

What craft do you work with?

I started to work in stained glass shortly after I left school in 1989 and have stayed with the medium in various forms through my career. My interest in stained glass was piqued as a youngster; looking at the stained glass in church I wondered how it stayed in place. In a quest to find out the answer to this question I joined a stained glass night class when I left home, which shortly led to my training in a major stained glass conservation studio. I enjoy every aspect of the stained glass process but particularly enjoy fusing and glass painting where creativity and unique mark making is facilitated.

A short sentence to add as the short description

I enjoy every aspect of the stained glass process, in particular I enjoy; fusing and glass painting.

What inspires you to work with this craft?

Without a doubt the reliance on light to transform a piece of glass into an etherial flow of transmittable colour is what captivates me about stained glass. Glass is a challenging medium, it is always has something new to teach, combining techniques makes it a medium that has infinite possibilities and is a never ending source for exploration. My favourite materials to use is mouth blown or fused glass with the addition of glass paints, stains and enamels. This craft matters, it was the original form of social media before the printing press. It is impossible for a modern mind to comprehend the power it would have had on people who encountered it in a life devoid of imagery. I carry with me the education given to me by the medieval masters whose work I conserved and wish to pass it on in an act of continuity.

How do you start your creative process?

I find the hardest part of the process is starting with a blank piece of paper so for this reason I find using an iPad enormously helpful. I enjoy in particular talking to others where ideas can be ignited and inspired, though my favourite part of creating is the practical elements, as I am a maker by nature.

How would you best describe your workspace and what tools could you not do without?

My workspace is a beautiful high ceilinged room with a wooden floor, a fireplace and two large old sash windows allowing light to flood in. My personal tools which I cannot do without is my lead knife – a cut down and sharpened Sheffield steel palette knife, a modified oyster knife to pin horse shoe nails while leading and an oil filled glass cutter, everything else I am happy to beg or borrow. The kiln is also a necessary part of my practice which I couldn’t do without.

Are there new techniques you would like to try?

There are many techniques that I would like to try, especially less traditional ones such as silkscreening, sandblasting and airbrushing on glass.

What have you learnt that you would like to share with fellow crafters?

The best advice I was ever given was by the woman who introduced me to stained glass as a teenager. She said take notes, and I did. As I occasionally find old notebooks I am surprised by what I didn’t know as much as what I was learning and managed to keep a good record of projects I have worked on throughout my career.

What other types of craft do you dream of collaborating with?

I love all types of creativity with a particular interest in digital media.

What professional dream do you have?

Professionally I would love to be part of a high profile glass project in an international city though I secretly harbour a wish to be a dj and make music videos.