My work combines what are ordinarily two separate glass-forming techniques: blowing with casting. With hot glass I make all of the raw materials I melt into a sculpture. With casting skills, I create the conditions in which glass ‘paints’, producing brushstrokes and flecks of colour as liquid glass moves to fill the mould. Bringing these traditions together is riddled with complications, but there is great potential to create truly innovative imagery!
(these) Dynamic Paintings inside glass echo the nature of the world we live in: how it is constantly in flux and change. Impossible to pin down, the image mimics the soft appearance of undulating water or the diaphanous lightness of a gentle breeze.
The casting itself is a performance: like a river running downstream in between and over rocks, colour glass flows around clear. I orchestrate - with time, gravity, material makeup of hand shaped glass - how structures collapse, wrap, flow.
Combining tactile making in concert with natural law, I materialise transience, crafting a performance in a physical form. Each piece is a living, breathing display of colours, patterns and light, where painted marks and reflections appear, disappear, reappear or unite in different ways from every view.
I am a kinaesthetic thinker, I think through movement, so my work is inspired by the way I move through the landscape. Much of my inspiration comes from being physically active and what I see in these moments of extraordinary beauty and of quiet reflection, where nothing is in view apart from rolling hills and expansive skies. These places are mostly in the remote parts of Scotland, at the top of mountains in the Scottish Highlands.... but I've also been inspired by Icelandic glaciers; the narly, volcanic rock of Fuerteventura; rugged cliffs along the west coast of Ireland; turbulent sea in St Andrews, Scotland; and rolling hills in the English Lake District.
Early in my life I was a classical violinist. The way that music takes shape over time - how the melody forms an image in our mind several bars into the piece - still influences how I think and create today. I design for interaction, making compositions that unfold in time.
The painting assumes the format of a 'movie' of our personal experience of moving around and improvising with the piece.
The Scottish Gallery, Edinburgh described the work as 'happy making'. Some say the interactive nature of the work is 'magic'.