Tag Archives: glass


These amazing gates at Millbrook Manor in Jersey were made by a collaboration of Artists.

 There are two iron gates each with two cast glass heads back to back. The heads are held in place with a copper band.

 The four heads are made of two slightly different designs and were cast with bullseye billets.

The glass was cast by Julie Bolton at Jersey Glass Art studio.

There are up lighters that highlight the gates and illuminate the glass at night time.


 The initial design was by Neil Mackenzie

The metals were forged by members of Rylance Limited

 The team of metalworkers and blacksmiths were : Nathan Twomey, Kate Webber and Fil Guy.

The gilding was done by Catriona Ellery.


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Most of St Matthew’s Church (the Glass Church as it is known locally) at Millbrook in Jersey is decorated in art deco style Lalique glass dating back to 1934.

The picture below is of one of the lamps inside the front door of the ‘Glass Church‘ designed and made by Rene Lalique.

Glass Art lamp

It is said to be the only church that French master glass artist Rene Lalique designed for.

Below is a picture of the windows that are all around the Glass Church.

Rene Lalique

The glass art work for the church was commissioned and paid for by Lady Trent who lived in Jersey across the road from the glass church.

Here is a picture of the front doors taken from the inside of the Glass Church

Rene Lalique

The Glass Church was was done in memory of her husband, Jesse Boot, who was the founder of Boots the Chemist.

This is the magnificent alter cross in the Glass Church.

Rene lalique

Renee Lalique is recognised as one of the world’s greatest glass art makers and jewellery designers

of the art Nouveau and art Deco periods.

This is a picture of the glass font in the Glass Church, it is signed by Rene Lalique on the base.

Rene lalique

These are the interior walls of the Glass Church which separate areas of the church.

Rene lalique

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For more on GLASS ART please click HERE


It is generally agreed that the Mesopotamians did the first fusing and casting in the 2nd millennium B.C.
Early warm glass processes evolved from ceramics/metalworking techniques.
Glass was classed as a precious material alongside gold and silver.
Next came the Egyptians, who by the later half of the 2nd millennium B.C. were proficient in both casting and fusing. They also developed the technique of working with glass rods (now known as lampworking).
Romans and Greeks adapted and improved on early techniques from the 3rd century B.C. till the birth of Christ.
The development of kiln forming was put on hold when a new approach – Glassblowing was developed by the Romans.
Blowing became popular due to its greater efficiency, repeatability and lower cost.
Warm glass techniques were forgotten until they were rediscovered in Europe during the 19th Century.
One of the first areas to be developed was the ‘Pate de Verre’ movement in France.
Henri Cros, Albert Dammouse and Gabriel Argy-Rousseau developed methods for casting with a paste made from small glass particles.
In the early 20th century The Studio Glass movement, led by Harvey Littleton and centered on blowing brought respectability to working with glass.
The Bullseye Glass Co. formed by 3 glassblowers, played a significant role in the development of ‘Warm glass’. They led the first major research in the development of ‘tested compatible’ glass made specifically for fusing.
Today, after nearly 2 centuries of re-discovery, warm glass continues to develop and grow as a viable artistic discipline. The increasing availability of better materials and the continued experimentation of artists leaves warm glass poised for continuing growth during the 21st Century and beyond.

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Glass Art : Alison Kinnaird’s ‘Psalmsong’

Alison Kinnaird has an international reputation as a visual artist and musician. One of the world’s leading glass engravers, with work in public, royal and private collections throughout Europe, America and the Far East. The glass ranges from small intimate pieces, to architectural installations which incorporate light and colour. A recipient of many awards and winner of many competitions, her contribution was recognized in 1997, when she was presented with an M.B.E. for services to art and music.

Her glass installation work ‘Psalmsong’ was made possible by a Creative Scotland Award from the Scottish Arts Council in 2002. It took a year to complete, and utilises engraved crystal panels with dichroic colour and optical fibre lighting, digital photography, printed textiles & music.

The glass work is based around a piece of music of the same name, composed & performed by Alison on the Scottish harp. The notes of the melody were recorded & analysed, and the patterns produced by sampling across the soundwave formed the basis of the glass design. The human figures & the colours represent the emotion in the music.

The lights & colours make use of optical fibre technology & the shadow projected by the engraving was photographed & digitally printed to produce a shadow banner, 4.5m long, which hangs behind the glass.

‘Psalmsong’ is now in the permanent collection of Scottish Parliament, Edinburgh. This film, which, shows the installation in its entirety and in detail, was directed by Robin Morton and is taken from Alison’s CD / DVD album ‘The Silver String’ (Temple Records COMD2096), which contains a full length album & a DVD featuring two other short films and video interviews with Alison about her work.

You can find out more about Alison Kinnaird at www.alisonkinnaird.com & you can find her books, CDs & DVDs at www.templerecords.co.uk

Duration : 0:8:47

Continue reading Glass Art : Alison Kinnaird’s ‘Psalmsong’

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Glass Art & Music by Alison Kinnaird: Ring of Crystal, Ring of Stone

Alison Kinnaird has always had two careers running in parallel: as a well known Scottish musician & also as an artist working primarily with glass, whose work is collected internationally. In 1997 she was awarded an M.B.E. for services to art & music. Alison usually keeps these two fields seperate but in a number of projects, including this one, both glass & harp have featured together.

The glass artwork shown in this film was created in 1988, based on the theme of standing stones, and it was acquired by Leicester Museum & Art Gallery in the same year. The tune was composed by Alison to accompany the glass. Like a circle of stones, the music follows the characteristic form of harp music, beginning with a theme, progressing through a series of variations, before returning to the theme at the end. Each variation has a corresponding engraved crystal block.

The short film, which features images of the standing stones at Castlerigg, Long Meg & her daughters, and the majestic Callanish stones on the Isle of Lewis, was filmed, edited & directed by Robin Morton. This film was released on a DVD containing three films & interviews relating to Alison’s work, which was included free with Alison’s 2004 album ‘The Silver String’ (Temple Records COMD2096). This CD/DVD package is still available direct from www.templerecords.co.uk or from all good record shops.

Alison Kinnaird, Pub. Kinmor Music

Temple Records 2004 & Kinmor Music.
All Rights Reserved


“This is Scottish traditional music at it’s very best, something to be proud to be part of, thrilling to hear and humbling to realise the lack of extent of our knowledge”
Edinburgh Guide, December 2004

“…yet another extraordinary example of her mastery of all forms of Scottish traditional music….the music alone is enough to make this CD essential, the glass art videos simply take her vision to a whole new level”
Folk Harp Journal, Spring 2005

“Rarely have such ancient themes been so successfully meshed with modern images, techniques and technology. This is a truly ground-breaking project, fully recognized with great artistry”
Dirty Linen

Duration : 0:8:4

Continue reading Glass Art & Music by Alison Kinnaird: Ring of Crystal, Ring of Stone

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The Corning Museum of Glass Supports Eight Artists-in-Residence in 2011

CORNING, NY– Eight artists will research and experiment with new techniques and subjects as 2011 Artists-in-Residence at The Studio of The Corning Museum of Glass.

“The artist-in-residence program is a core part of the programming at The Studio, which is an advocate for artists working in glass,” says Amy Schwartz, director of The Studio. “The residency program provides artists the luxury of spending a month focusing on their work without day-to-day worries.  The Studio handles housing, travel, equipment, supplies, and assistance, while the artist engages in the process of creating and exploring.”

The resident artists will be supported with technical assistance, housing, a food stipend, and studio space for one month. They also will have full access to The Studio’s state-of-the-art facilities, the Museum’s renowned Rakow Research Library, Museum staff, and the 45,000-object collection, which spans 35 centuries of glassmaking and represents each civilization in which glass has been made.

The artists will provide public Lunchtime Lectures during their residencies. Lectures will take place in The Studio Lecture Room at 12:00 p.m. on the specified dates. Registration is not required, and admission is free. Please contact (607) 974-6467 or thestudio@cmog.org for more details.
March – Susan Liebold
Liebold’s work explores luminosity. She uses flameworking techniques to develop biomorphic structures made of phosphorescent and fluorescent glass, which she develops by working closely with chemists. In her Studio residency, she will explore the contrasts between heavy and fragile glass, combining fragile glass objects with solid objects from the furnace. Liebold often integrates her work into the environment, at times placing them in a forest or field. Based in Germany, Lieobold studied at Giebichenstein, School of Art and Design in Halle. She has had exhibitions at several German museums.

Liebold will present a free public lecture at noon on March 18 in The Studio Lecture Room.

April – Beth Lipman
Lipmam is known for her works in glass that generally pay homage to still-life paintings from the 17th to the 20th centuries.  Continuing her exploration of material culture as a means to understand desire and consumption, she will investigate and recreate Victorian decorative arts during her Studio residency, juxtaposing common 19th-century domestic objects with their contemporary counterparts. Lipman’s work has been the focus of solo exhibitions at galleries and museums across the United States, and part of group exhibitions across the world. Her work is in the collection of The Corning Museum of Glass.

Lipman will present a free public lecture at noon on April 21 in The Studio Lecture Room.

September – Dan Mirer and Nisha Bansil
Instructor Collaborative Residency

Mirer and Bansil will collaborate to combine the techniques of photo sandblasting and blown glass, and develop new methods to create bubble trap imagery. With Mirer’s strengths in craftsmanship and technical innovation and Bansil’s emphasis on pure imagery using the two dimensional qualities of glass, the artists will collaborate to create new work that neither would accomplish alone.

There is no lecture for this residency.

October – Min Jeong Song
Song studies ornamental styles across time periods and geography, and her work explores how certain attributes of glass can be used to create ambivalent objects: objects that don’t belong to pre-existing stylistic classifications. She is especially interested in cross-cultural stylistic developments between East Asia and Western Europe, a topic she would like to explore more at The Corning Museum of Glass. Until now, she has worked mainly with clear or monotone glass. At The Studio, she would like to add elements of color and three-dimensionality. Song holds a master’s of fine art in glass from the Rhode Island School of Design and is currently pursuing a Ph.D. in glass at the Royal College of Art. Her work has been exhibited across the UK and US.

Song will present a free public lecture at noon on October 26 in The Studio Lecture Room.

October – Amie Laird McNeel
Laird McNeel will come to The Studio of The Corning Museum of Glass as part of a joint Artists-in-Residence partnership with the John Michael Kohler Arts Center. A sculpture professor for 20 years, Laird McNeel is inspired by the formal symmetries of natural systems, which can be both subtle and severe, uniform and chaotic. She has recently begun incorporating blown and carved glass into her hand-formed steel sculptures. At The Studio, she will investigate how glass can affect our perceptions through optics and lenses, embedding metal sculptures she makes at the Kohler Arts Center with mirrored interiors, creating multiple reflections.

Laird McNeel will present a free public lecture at noon on October 26 in The Studio Lecture Room.
November – Veronika Beckh
A Berlin-based artist, Beckh has exhibited extensively in the United States and Europe. Her work invites viewers to disconnect from the noise and chaos of everyday life and to find light, tranquility, and contemplation. Beckh will use her residency at The Studio to expand her practice beyond smaller objects and ensembles toward room installations. She will experiment with scale, combining blown pieces with float glass and mirror to integrate with and respond to space, light, reflections, and the viewer.

Beckh will present a free public lecture at noon on November 18 in Te Studio Lecture Room.

November – Adrianne Evans
Evans draws inspiration from the complex mechanisms that shape the natural world. In her residency, she will explore in glass the forces that shape the earth—erosion, grain sorting, friction, viscosity, flow, gravity, buoyancy, pressure, heat and time—sometimes by adding powdered glass to molds filled with water, letting it settle and creating layers of sediment and distinctive geologic formations. Evans holds a master’s of fine arts in glass from the Rhode Island School of Design, where she now teaches. She has worked with Michael Glancy, Daniel Clayman and others, and her work has been included in the New Glass Review.

Evans will present a free public lecture at noon on November 18 in The Studio Lecture Room.
The Corning Museum of Glass
The Corning Museum of Glass (www.cmog.org) is home to the world’s most comprehensive collection of glass. Spanning the globe and encompassing more than 3,500 years of human ingenuity, the collection includes masterpieces from ancient Egypt, Greece, and Rome; the great civilizations of Islam, Asia, Europe, and the Americas; and the range of artistic movements beginning in the late 19th century and extending to the present day. Interactive exhibits tell the story of life-changing historic advancements and contemporary innovations in glass technology.

Live glassblowing demonstrations (offered at the Museum, on the road in the U.S. and abroad, and at sea on Celebrity Cruises) bring the material to life for audiences of all ages.

The Museum’s campus includes a year-round glassmaking school, The Studio, and the Rakow Research Library, the world’s foremost archive and reference collection on the history of glassmaking.

Located in the heart of the Finger Lakes Wine Country of New York State, the Museum is open daily, year-round. Kids and teens 19 and under receive free admission.


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