A show demonstrating the vitality and high quality of contemporary art glass making in the UK is currently underway in Glasgow’s Merchant City. Balance & Harmony is a selected exhibition of work by Scottish Glass Society (SGS) and Contemporary Glass Society (CGS) members, showcasing over 80 pieces by 56 artists.
Both societies’ members were invited to consider and interpret the theme ‘Balance & Harmony’ – a compelling theme which has evoked a diverse range of responses, using a wide variety of traditional and experimental techniques. Perhaps unsurprisingly, many artists have responded to the theme in a global sense, expressing concerns around environmental issues and climate change. Waste glass and recycled materials – everything from cathode ray tubes and railway signal lenses to chicken bones and bird skulls – play a part in many pieces.
The selected works form an interesting blend, coming from experienced artists and some who are quite new to working with glass. A good number of participating artists from both societies were present at the opening night on 17th September to celebrate their achievement. In a practice that can for some be a solitary pursuit, the artists clearly enjoyed the opportunity to meet, many for the first time, to compare notes on the challenges and successes of making their pieces and working in the craft generally.
As articulated at the opening by the SGS Chair, Gregory Alliss, the exhibition demonstrates that contemporary glass art is thriving and excellent work is being made, despite the many challenges for glass artists in recent years. The exhibition is beautifully presented too, thanks to the dedicated team of volunteers who took on the challenge of mounting this show, their biggest ever, in less than 48 hours. There is an astonishing collection of pieces on display, and seeing them first-hand is highly recommended, to marvel at the modelling, colour and effects that can be achieved in the medium of glass.
The exhibition setting is the Robert Adam-designed Trades House of Glasgow and as part of Glasgow’s ‘Doors Open’ programme, on Saturday 21st and Sunday 22nd September there is the opportunity, as well as seeing this wonderful glass exhibition, to tour through the building and view the Grand Hall, with no booking required.
The works on display cover a wide range of approaches and techniques. There are examples of traditional stained glass, such as newcomer Emma Ceresa’s Swimming Free in leaded coloured glass with painted highlights, and Malgorzata Kuffel’s Mandala where the additions of layers of fused glass, transparent enamels and silver stain make a stunning piece.
Steven Graham’s He Played Guitar, in tribute to his musical hero David Bowie, is a stained glass piece set into the body of an acoustic guitar, embellished with digital mosaicking and silk screen printing, and with a ’Space Oddity’ record label filling the guitar’s sound hole. The pop culture imagery of this highly original piece will undoubtedly have widespread appeal.
Alison Kinnaird uses the rare technique of copper-wheel engraving flawlessly in her striking deep blue Blue Moon.
Helen Restorick’s work explores flow patterns through controlling the viscosity of molten glass, and her Paused Confluence, a diptych in cast glass, shows two streams of deep blue flowing together to capture a moment of balance.
Una Galbraith works in kiln-formed, or fused, glass and her Reflections are three self-balancing vessels made from fused glass, slumped and cold-worked. Different shades and opacities of blue powders applied to clear sheet glass before fusing really make these glow.
Wish you were here by Agelos Papadakis is also in fused glass, but combined with a found object. The immaculately-made fused glass side panels added to a child’s wagon result in a surprising and thought-provoking installation on the theme of balance through childhood trauma.
Blown glass is represented too – Roberta Mason’s We’re all in the same boat combines ten organic free-blown glass elements representing Ascidians (sea squirts), marine creatures that are our closest invertebrate relative, on a carved Bath stone ‘boat’ base.
Jianyong Guo also uses blown glass, and re-interprets a traditional Chinese method from inner-painted snuff bottles, innovating from a basis of traditional art forms. He expresses Reverence for Nature in his blown-glass pieces with inside painting, and the level of skill evident in achieving this is quite extraordinary.
There is the opportunity for visitors to vote for their favourite work in the show, with a ‘People’s Prize’ awarded to the artist most voted for. I know which piece gets my vote – it will be interesting to find out at the end of the show whether the ‘People’ agreed!
Admission to the show is free and there is a full-colour illustrated exhibition catalogue, price £5, with detailed information about the artists and all the works.
With thanks to Gregory Alliss and Catherine Lowe of the Scottish Glass Society for their help with this review, and to author Gordon Reid.
