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While this is like a sculptor working with a foundry, there are significant differences. With a foundry, you take the work to its final form and then the foundry casts the piece. With hot glass, it's more about my understanding of the artists directing and sometimes participating, realising their work for them.
Some of these artists are keen to associate their work with my contribution, while others are not!
There are quite a few works in museums dotted around the world where there is no attribution to my input, and while this mildly offends my vanity, I've been paid for the work, so some would say, "Who cares?"
However, in the future, art historians are going to have difficulty working this out!
Some of these artists are keen to associate their work with my contribution, while others are not! There are quite a few works in museums dotted around the world where there is no attribution to my input, and while this mildly offends my vanity, I've been paid for the work, so some would say, "Who cares?" However, in the future, art historians are going to have difficulty working this out!
What were your favourite commissions that you've been asked to do?
A legacy commission was the major artwork by Mary Branson, New Dawn, in Westminster Hall. I made the 168 glass elements that make up this artwork commemorating the history of women's suffrage. Mary Branson and the 'Houses of Parliament' have always fully credited me with my contribution!
Another fabulous collaboration was the Beauty Sensorium shown at the Wellcome Foundation, where I worked with Baum Leahy, https://www.baumleahy.com/ for whom I have created various glass forms over the years.
A few years ago, I worked with Christine Charlesworth and the American artist Jennifer Rubell on an extraordinary project to make a glass baby for an exhibition in London. You can read about it here in the Guardian
Miluse