In this new body of work I am bringing two strands of my practice, glass, and enamelling on copper together. As a recent development, I am combining fired transparent and opaque metal elements, balancing composition, surface marks, colour and textures. Glass firing is slow, whilst enamelling is a faster process with many firings, and so planning and responding to change and surprises all come in to play. Using hand cut stencils and layering with glass and enamel powders allows me to control shapes, whilst ‘stoning’ back through fired surfaces reveals elusive marks and colours. In these compositions I balance lines and rectangles with translucent and organic surfaces. Technically, I am enjoying the challenge that combining these materials brings, pushing my work in a new direction.It is important to me to balance concept and techniques. Each piece is individual, evolving from drawings and my response to aerial landscape photography of ancient archaeological sites across the UK, many of which I have visited. I love walking, and the physicality of connecting to a particular place. I am fascinated by marks, patterns and traces that are often only visible from above as shadows, lines and circles, changing with the seasons and light levels. Equally, I am drawn to close up surface details. As I work, overview and detail come together as macro and micro combine, as a piece takes on a momentum of it’s own through the making process.

Naw Voz [Cornish for Nine Sisters] is a series of waterjet cut interlocking glass wall panels that combine photographic images with fused, fragmented shapes and glass powders. It is part of a series of works developed from ancient places across Cornwall.
Naw Voz stone row is a Bronze age monument near St Columb, in Cornwall. Embedded in the earth, the stones have stood for over 3,000 years. Made of granite, they are streaked with beautiful veins of quartz that change in different weather and seasons. This glass wall installation changes when viewed from different angles, moving from opaque to transparent, solid to ethereal.

Overall size: 147cm x 37cm x 6mm

The panels are mounted 100mm away from the wall surface.

Working on copper or steel, I use layers of powder glass enamels to build colours, shapes, compositions and texture. Each piece can be the result of many firings, often changing in the process - a mixture of planning, intuition and response.

The making of this glass wall installation has been supported by Cultivator Cornwall, giving me the opportunity to water jet cut complex shapes out of Bullseye glass at the University of Sunderland/National Glass Centre.

It forms part of my ongoing exploration of ancient archaeological sites at the edges of Britain and Ireland, drawing from walks and photographs taken over a year near St Just, in Cornwall. These kilnformed glass discs layer shapes drawn from micro lichens and Bronze Age holed stones, with sections of fired images from the surrounding Kennidjack Common.

This series of glassworks will continue to develop both as an installation and individual wall mounted panels. Shapes, colours and shadows change constantly at different times of the day and with changing light.

Glass discs are available for sale individually from £395. Please contact me if you would like to commission a wall installation for public spaces or a private interior.

Waterjet cut and fired glass discs -

Each disc 25cm x 25cm, wall installation as shown 100cm x 135cm.

This series of glass oval have evolved from visits to the Isles of Scilly. Innisidgen, is a Bronze Age site on the very edge of the water on the Island of St Mary’s. In the past I have made flights over the islands in a small light aircraft, photographing aerial perspectives, and the changes to the Island boundaries with the rise and fall of the tides. The ovals are a layered glass collages, mapping the shapes and textures of close up stones and lichens and the contours of the edge of the land and sea.

Each kilnformed glass work evolves from many drawings and photographs of a particular place and time, using hand cut stencils to build layers of translucent colour with glass powder and fragmented imagery. Water jet cut piercings through the glass cast shifting patterns of light and shadow when lit from different angles.

Each oval measures 31cm x 38cm and is wall mounted with a transparent fitting, allowing a gap behind each work.

Micro Landscape Glass Collection

Individually wall mounted with a transparent fitting, these shaped glass pieces range in size from 10cm x 10cm to 15cm x 18cm, and are available from £85.

The beauty and particular qualities of Japanese papers have long been an important part of my work. Whether cutting by hand or using laser for larger works, I work from drawings, mapping patterns, shapes, contours and edges. Cutting is often combined with colour and printed imagery.

The cut paper panels are ‘floated’ in layers of glass and framed, giving depth and casting shadows.