Quite a good day today; divided into groups of about 10 and then everyone gave a 10-minute presentation of their work and aspirations. General discussion ensued. I found it very interesting, though it was always the same suspects doing the talking. I think this will bed down as we get to know one another. The MAs all seem a talented and thoughtful bunch of people and there isn't the usual annoying wild card anywhere in site. Most unusual. 
Last week's two sandcast pieces, partially cold-worked. Three more attempts at sculptural forms are in the lehr. I've also boxed two blown items -- not many, but I'm not concerned about keeping them just now; it's time to get more fussy about what's worth putting away. The secret of getting going at this college is to collar someone to give you an induction to each workshop; otherwise you can't do anything. So I've now notched up the hot-shop and the first cold-working room. So that's 2 more cold-shops, the kiln-room and the plaster room to go. It'll all happen.
This is the third autumn running -- at the start of a new academic year -- that I have seen a rainbow. I saw this one as I drove back from college and it obligingly waited for me to turn off to Catherington so I could get out and photograph it. Surely a good omen. cf 29 September 2004 (rainbow over Malvern Hills) and 3 September 2005 ('Rainbow over Istanbul', scroll down).
One of the tutors mentioned Catherine Hough, so I went and had a look at her work - beautifully made organic forms in clear glass. Does it give me ideas? Don't know.
I thought the Bombay Sapphire Prize exhibition was the best of the four shows I went to. There was real quality here - interesting ideas and well-made pieces. I liked this mirror piece by Kazuo Taguchi; similar sort of thing to my lens river - using light and reflections. What I didn't like about it was that each mirrored curve was glued to the wall - so had to be built in situ.
100%East also had innovative design, though some of it tried too hard. Interesting(ish) light book by Mirko Kisser -- allegedly 'the contemporary citation of the ancient scriptures' ; each page being 'pure enlightenment'.
First day - chaotic, but I suppose one expected that, though not the unwelcome vista of academic pressure opening before me. Almost ready to leave there and then.
Here something I did this week. I think it's called 'Feathered Shell'. I also think I wouldn't have made this a year ago, let alone posted it up. And I think I'm getting corrupted and am starting to like useless 'art' objects that make puzzling statements where before I was all purist and functionalist. Something's happening -- is it good or bad?
Favourites at the Biennale and workshop demonstrations - yes, I know one of them is me, but people did come in and watch and obligingly clapped at the end when I boxed a goblet. Elio Quaris, with 60 years experience at Murano, was obviously much more exciting to watch; we were hooked by him, and his ballet of helpers, for hours.
Probably not - I'm just a bit mad that way. Did these during the International Glass Festival a couple of days ago and immensely enjoyed doing them. Not as much lost ground from the long gap as I'd expected. cf. 23 May; 18 Feb; June 05; September 05; November 05.
Stephen took this picture for me in NZ as he thought the 3D lattice effect might interest me. It does. Although leaded windows isn't my thing, the idea of stretching out a flat pane is appealing. So I've blogged it for future inspiration.
'Ampersand River', as I have called it, will be installed on 7 August and I'll post pictures then.
Just been to Giverny and to Monet's waterlily garden. Nothing to do with glass, I know, but one mustn't be blinkered. I don't think, for example, that I would have fully seen that Monet's own inspirations came from Japanese art. In fact, apart from the Japanese bridge in this picture, I am not sure it is all that evident. But there is an extensive collection of prints in the house.
I can't seem to get spirality out of my system. It kept edging its way in at Brierley as well. Must be buried in my DNA. Here's a fused panel coming out of the kiln this morning. My scheme for containing them within fibreboard boxes is at last getting reliable. Carpet tacks at the corners just hold the strips together.
Here's the finished plate started at my West Dean weekend. I got my trade-mark puss in (much to the bemusement of the person who is destined to be the plate's owner). One thing finished for the exhibition. It's looking like a bit of a round things and pyramids theme.
This is my final version of the 'river of lenses' project. I've had to compromise as I couldn't use the windows as it would have meant tampering with the fabric of the building. However, I am begining to feel this solution will be better -- easier, cheaper and more controllable. It's out of the main thoroughfare (so safer) and the light above will throw some interesting shadows on the wall. I was never too sure the visual interference outside the window would have worked in its favour. All in all, this really is the best place for it in the Reception area. Next pic of this will be it in situ as it is full steam ahead now so it can go into the exhibition on 19 July first. And it's going to have a little puzzle hidden away in the lenses.
This what I was working on last weekend for the 'Blast & Scratch It' course at West Dean last weekend. Had such fun. The perfume bottle and the roundel both unfinished and there's simply been no time all week to get back to them and finish the engraving. Maybe next week will be less busy.
The end-of-term exhibition will be at the Gallery at Morley College 19-23 July. It's been a matter of coaxing and negotiation. On Monday we will visit it as a group and possibly select the spaces we would like. I'm hoping for a window for mine, preferably where the buses pass. It's odd how now we have secured a gallery space (and very nice one too) it changes the last month's sprint to the finish of the course. Having not really wanted to do a fnal show, my mind is now turning to thinking about whether I could make a few things to sell.
It's about time I blogged a blog so here's a story about Dale Chihuly in relation to the current court case he is bringing against two glass blowers for imitating his creations inspired by the sea. Can sea forms belong to one person, runs the defence.
