I have been working as a glass lamp/torch worker since 1985, developing my art and techniques through that time to work to an unusually large scale and detail in solid rod. I developed the skills to overcome the problems this creates.
I have been working as a glass lamp/torch worker since 1985, developing my art and techniques through that time to work to an unusually large scale and detail in solid rod. I developed the skills to overcome the problems this creates.
I have always read fantasy books of myth, magic and dragons, so these were the first sculptures I made when working for myself- and still am inspired to create more. The dragons are continuously evolving and one of my most recent projects is to create dragons combing bronze and glass.
Naturally I also love creating other fantasy sculptures such as the pegasus, unicorns, fairies, dryads and mermaids- to name but a few!
I also have a great love of the natural world, making many animals, birds, reptiles and aquatic creatures as well as wild flowers and other flora.
I am enjoying sculpting the human form, trying to catch moments of movement in my Dancers. In august 2020 I gave an online talk about my glass working story; my work; my inspirations and aspirations, to the Contemporary Glass Society.
During my talk a gave a brief step by step guide to making a Large Dragon and also a Long Tailed Tit.
Using only small hand tools I have developed techniques working with the flow of the molten glass- always aware of the hidden stresses involved with heating and cooling glass. My hard won skills have come from many years of trial and error also reflected in the fine detail of my miniatures and jewellery.
I use both coloured rod on to the clear and metal based lustres to give iridescent colour and realism to my pieces. I create eye canes, mille fiori canes and stringers where necessary to create the piece I am working on.
For more than 30 years my demonstrations have inspired others to take up glass work. I have had children watching me for as long as they are allowed whilst I make miniatures such as bees and fairies. One parent thanked me at an event where he and his child watched me complete a miniature, telling me his fascinated young daughter wanted “to do what the lady was doing” when she was older.
At least one young person who watched me at an exhibition went on to study glass at university- Elizabeth Welch- who, after finishing her study, came to one of my day classes and then worked with me regularly for a couple of years- and she has carried on flame working.
I gave day classes for 1, 2 or 3 people at a time for about 8 years, but due to various problems I am not in a position to do so again just yet. My aim is to give classes again in the not to distant future.
If this interests you please email me to be added to my list of prospective students for future classes. sculptureclasses@firecreation.com
Flameworking is a contemporary term for lampworking. The latter has its origins dating back to the beginning of the 15 century when an oil lamp was used, with a thin stream of air to increase the heat and melt the glass. The technique was used across Europe. Apparatus used by Galileo at this time still exists. My work uses this exciting technique where I melt borosilicate glass in the flame. Whilst the glass is soft (800 C) I sculpt it using small hand tools and gravity to manipulate it into the forms I create to express my love of myth, magic and the natural world.
Borosilicate glass is made by adding boric oxide to the glass mixture. This process creates a type of glass that is more resistant to thermal shock than ordinary glass. … It isn’t completely unbreakable, but it is sturdier than regular soda lime glass.