Steven Graham

I have been working for over 20 years, specialising in stained glass. My work seeks to capture the translucence of glass and its unique ability to work with light to transmit colour. My work is based on my investigations into nature, historical, environmental, and theological themes, with a contemporary presentation, and uses a fusion of traditional high fire glass painting, on mouth blown flashed glass, using digital and screen printing methods. My passion and enthusiasm extends into my educational workshops, especially working with schools to try and inspire the next generation of glass artist.

Q&A

Artist Statement

As a glass artist, I am passionate about exploring the unique properties of glass to create stunning and meaningful works of art. My approach is rooted in traditional techniques such as painted stained glass, but I also incorporate digital methodologies and non-traditional methods to push the boundaries of what is possible in this medium. My designs are inspired by a wide range of themes, including environmental, historical, and theological subjects. I draw on the styles of the Pre-Raphaelite and art nouveau periods, but I also strive to create contemporary themes that are relevant and thought-provoking. To create my pieces, I use a range of techniques such as etching with hydrochloric acid, traditional glass paints, stains, and enamels, as well as fused glass elements, wet gilding with gold and silver leaf, and screen printing on glass. Through layering and multiple firings, I am able to capture likeness and realism in my figurative pieces, while still highlighting the unique properties of the glass. My workshops and community projects are an important part of my practice, as I believe in sharing my knowledge and skills with others. By teaching Beginners Stained Glass and Fused Glass at local workshops and schools, I am able to encourage a new generation of artists to explore the potential of glass as a medium. Additionally, my work with community groups highlights the importance of art in our society and encourages the development of sustainable methods for creating art. Overall, my goal as a glass artist is to create beautiful and meaningful works of art that inspire and connect with others.

What craft do you work with?

My passion for stained glass began when I was just 9 years old and saw it at Edinburgh castle. Since then, I have been captivated by its ability to transmit light and create beauty. In 2002, I began working with glass as a hobby and fell in love with the problem-solving challenges that
designing for it presents. As a painter at heart, I specialize in painted stained glass, as it allows me to combine my love of painting with the unique properties of glass. Today, I continue to explore the possibilities of this medium, creating beautiful and meaningful works of art that bring joy and inspiration to others.

What inspires you to work with this craft?

As a glass artist, I am deeply passionate about the medium’s ability to transmit light and the endless possibilities it presents for artistic expression. I am particularly drawn to the way that light behaves when it interacts with glass, and I seek to influence and control that behaviour through techniques such as painting and etching. Through close collaboration with my clients, I strive to create new and contemporary works of art that speak to their individual tastes and sensibilities. I am committed to pushing the boundaries of what is possible with glass and to using the medium to explore a wide range of themes and ideas.

At the same time, I am deeply concerned about the future of this endangered art form. I am committed to investing in inspiring the next
generation of glass artists, both through my teaching and through my own creative practice. Through education and outreach, I believe that we can help to ensure that the art of glass continues to thrive and evolve for generations to come.

How do you start your creative process?

My creative process is a journey that begins with listening closely to my client’s or project brief. This initial stage is vital for me to establish a connection and investment in the design process, and to understand the key themes, values and concepts that underpin the project. From there, I embark on a rigorous research process, exploring the ‘who, when, what, where and why’ of the brief. This allows me to build a strong foundation for the design, and to ensure that every element is considered and thoughtfully integrated.

Once I have a clear understanding of the brief, I present my clients with a range of options, and work closely with them to refine the designs and ensure that their vision is realised. Throughout the entire process, I am highly self-critical, constantly striving to improve my work and to push the boundaries of what is possible with glass.For me, the creative process is a constant journey of exploration and discovery, and I am always excited to see where it will take me next.

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

I work in a studio that is glass artistic collective, whose members constantly drive each other to progress creatively. There is strength in numbers, as associates can be called upon to assist n the delivery of larger scale projects, both in time and scale. It is a very positive
environment.The quality of light in the studio is well balanced and allows the glass to present itself well, revealing its true colour, texture and characteristics. Understanding the glass allows me to ensure the right pieces are used in the respective projects.

Both this light, and the comradery are two things I could not work without.

Are there new techniques you would like to try?

There are techniques that I have been exposed to during my initial training, some of which I have been able to practice the basics, and others I have sought further training on, or are skills I still wish to pursue.Glass water gilding, and its use with acid mica and wood chip etching are techniques that I am actively researching and seeking opportunities for further training.

Copper wheel, brilliant glass etching and polishing is an area that I have yet to experience however I am aware of the significant benefits assimilating these into my designs and making processes will bring.

What have you learnt or the best advice you have received that you would like to share with fellow crafters?

This can best be answered by stating my mantra I use when teaching workshops to school children, “Break the rules and use all the tools!”

What is it that your imagination is trying to reveal, and through problem solving, what are the best methods of realising that vision? While my core specialism is traditional painted stained glass, during which I use techniques that are hundreds of years old, I also embrace modern concepts and technologies. The past masters would have used whatever was at their disposal, we merely echo those methods. Had they lived today, then they would have written a new rule book. That is why I encourage people to challenge the time honoured rules, if they cannot help to deliver the vision. Look at other methods, collaborations and technologies and do not be frightened to experiment.