Photographs by Harriet Challis
'here today' is made from recycled glass micro beads. Over time they will crumble and decay, slowly returning to their original form.
The glass micro beads reflect back light to its source - causing the egg-like sculptures to shimmer and shine and to almost glow. Throughout the world these glass micro beads are used to highlight danger. Where once they reflected back film images on the original silver screen, here they create an eerie reminder of the fragility of life.
Photographs by Debbie Loftus
In this series of works I was reacting to time spent in the 'Venice of the North' working next to a glass hot shop where vessels are created in mere hours, often to be discarded for imperfections. Winter water, snow and ice inspired the colour palette, while my awareness of being a mature woman in a foreign country led to the creation of these non- vessel vessels. In these works I am embracing the imperfections of kiln formed glass.
Photograph by Bruno Ondinelli
RCA exhibition photo by Sylvain Deleu
Photograph by Bruno Ondinelli
RCA exhibition photo by Sylvain Deleu
Photograph by Sylvain Deleu
Brass wire, furnace glass, dried chicken bones
RCA exhibition photo by Sylvain Deleu
Photograph by Sylvain Deleu
Photograph by Sylvain Deleu
Photograph by Sylvain Deleu
Photograph by Sylvain Deleu
Photograph by Bruno Ondinelli
Copper wire, furnace glass, gaffer glass and fur
Photograph by Bruno Ondinelli
Photograph by Bruno Ondinelli
Copper mesh, furnace glass and fur
When transporting goods why is an inanimate object given more value than a sentient being?
One is encased in bubblewrap, packing peanuts, brown paper and an oversized cardboard box.
The other is crammed into metal cages with no thought for comfort, food or water.
It is not until they are dead that they are repackaged for consumer pleasure.
“Art is a lie that makes us realise the truth.” Pablo Picasso
Photograph by Bruno Ondinelli
Photographs by Debbie Loftus
'I miss your breath on my shoulder' was made while I was the Glass Fellow at City & Guilds London Art School. These Pate de Verre orbs made from glass micro beads are a comment on the passing of time. Repetition of this ancient and slow process enabled me to meditate on the transient vulnerability of life. Shown in a cupboard the viewer used a torch to illuminate the orbs which reflect light back to the source. Glass micro beads are used the world over to hi-light danger.
Photographs by Harry Cory Wright
Tread softly for you tread on my dreams' from the seminal poem 'The cloths of heaven' by W.B. Yates is in some ways true to us all. Whenever we walk upon this earth our feet carry us over the remains of something long dead. Inspired by the sale of my family home with beloved cats and dogs buried in the garden, I thought about the new owners unaware of what lay beneath their feet. Where ever we walk history has been there before us, our footsteps cover the past and affect the future.
Photograph by Harriet Challis
While I was in Stockholm on the RCA/Konstfack Anglo Swedish Graduate Exchange, I worked alongside a fellow creative called Linda Nuke, known as 'Lady Silkworm' or 'the mad silkworm lady'. Linda gave me one of her precious silkworms to make a collaborative piece. Tigger, christened for his stripes and constant movement, created a beautiful golden silk chrysalis within my recycled furnace glass Pate de Verre vessel.
Shown as part of the 24/7 exhibition at Hyper Stratford in the old Sainsbury's building. The work resided for six weeks in the abandoned and unlit walk in fridges. The audience were provided with torches to illuminate the work. Made from recycled furnace glass and glass micro beads the wok reflects back to the viewer. What they put in they get out. Over time the orbs shed their skin.
Photograph by Sylvain Deleu
Photographs by Bruno Ondinelli
'All things will die' after the poem by Alfred Lord Tennyson tells the story of the £3 pound chicken grown in mega farms that pollute local rivers. Sewage run off causes alga to grow reducing oxygen in the river, which in-turn, causes bugs and fish to die and the birds who feed on the them to starve.
This is a mixed media piece with cast glass, dried chicken bones from family meals, a twig and feather nest, black and white slip cast porcelain bones.
I live in West London where the chicken shop is the king of culinary retail. discarded bones litter the streets. I wonder if in years to come London will be excavated and the archaeologists of the future will presume that London was once overrun with chickens.
Photograph by Sophie Ziegler
Photograph by Sophie Ziegler
Mils Bridgewater, Rinoi Imada and Michaela Tkadleček crossed continents to collaborate on this project, sharing different backgrounds of material knowledge, nationalities and cultures. Their work explores intimate vulnerability. Working together defines their actions and interests, enabling them to be open-minded to somebody/something they don't know - learning to trust.
Five laser etched glass panels swivel to reveal the face of Elizabeth Barclay my maternal grandmother. Inspired by the Victoria and Albert museums backroom collection of two Venetian Glass Mirrors from 1650 I looked at the invisibility of women compared to their husbands, brothers and fathers. Over the centuries, sadly, very little had changed for my grandmother. These women were invisible, only seen when looked at directly.
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