How I Work

At my exhibitions, I am frequently asked how I carry out a commission. Since my website is intended to be a mirror of my exhibition stand, I am going to try and describe my creative processes

Behind each commission, in fact, behind every work I do, there is a background of technical knowledge and artistic inspiration. As well as engraving on studio-scale glass, I also do glass sculpture and architectural glass. In parallel, I do botanical painting, mostly watercolour, and printmaking, using a variety of techniques. I also practise calligraphy and brush lettering.

In preparation for a commission, I always do sketches which are drawn and/or painted, and these inspire my etchings. I do this so that I can master the subtleties of tone and texture in the subject. I also choose a calligraphic hand for any lettering, which is in the spirit of the commission.

When I meet with my client, I try to give form and substance to the client's requirements: for example, if the recipient is a gardener, I try to find their preferred type of plant. I also discuss the type of glass which would be most appropriate, and if necessary, discuss the size and form should I have to have the glass hand-blown. I then refer to my previous sketches to see if I have already done something appropriate, but I always try to seek fresh examples, especially where plants or flowers are restricted to a given habitat or season.

I see my role as designer as an artist who reveals to the client the ideas that they have in their mind.

I have shown some of my recent commissions for guidance.

From time to time, I work on projects which are not commissioned- they arise out of my own ideas about glass art. Some of these are inspired by, and informed by, my etching and printmaking work. These projects I call my research work, for want of a better metaphor. You can see some recent work in this area.

Page last updated 18 August 2009