• community art projects

    For most of the nineties I was working part time as a sessional art therapist in mental health day centres in Gloucestershire UK, employed by a Community Arts Development Agency.

    During that time we discovered how extremely therapeutic the making of glass mosaic can be. To a mind that has become fragmented, the practice of selecting and assembling coloured fragments of glass and bringing them together in either an individual or group design prove to be deeply centering and calming.

    In nearly every case a window was produced by a group and installed at their Centre. I assisted in design and production as a facilitator.

  • non commissioned work

    In addition to designing and making commissioned work which represents between 80 and 90 % of my output I also make pieces just for me, or to exhibit. I always have a number of such pieces for sale.

    Very often they are experiments in technique. Examples of these are works inspired by Samuel Palmer, that Master of light and darkness, or by the paintings or late stained glass of Marc Chagall, or by the paintings of Nicholas Roerich of vast, mountainous landscapes.

    Also 'on the drawing board' is a project to make a series of very beautiful, anatomically accurate and medically educational mosaic panels depicting human organs such as lymph nodes, heart and kidneys to inspire hospital commissions.

    I would also be very happy to create kaleidoscopic mandalas and to extend my skills in glass-painting and acid etching to the end of my days.

  • stained glass in churches

    In Christian countries the Church is the longest-established commissioner of stained glass, reaching back a thousand years.

    Coloured light is a naturally spiritual experience and it has been used to inspire and instruct people for all this time. Buildings that are places of worship tend to be higher than domestic ones and this means that their windows give views of the sky with its full spectrum of solar light, without the interruptions from trees or other buildings. This is the perfect backdrop for the experience of stained glass as it evolved in the 12th and 13th centuries in the great cathedrals of Europe.

    Painted and leaded church glass, both historically and in the present day, is an extremely durable material, and the designer needs to be conscious that he is creating an experience for people as yet unborn.

    Coloured light impinges very much on the subconscious part of the mind and therefore the three elements of symbol, pattern and colour carry more weight than graphic representation. Christian iconography plays an important part in this aspect of design. This is an artform that produced its finest flowering well before the Renaissance began with its cannons of modelling and perspective.

    When designing a church commission a lot of time must be devoted to listening to the people who will use the building, understanding the purpose and scope of the subject and also taking into account the particular physical requirements of fixing and fitting new panels into old structures.