Glass events this weekend included Salisbury Cathedral's wonderful stained glass windows -- understated and refined -- and a visit to Bro. Sally Pollitzer's workshop. This is a room divider she has in her kitchen. Nice effect. Fun looking at her acid etching experiments.
We're half way through this term and I have finally had an MA tutorial. We seem to have agreed that my project (wineglass/shoe) had sufficient academic rigour so I am going ahead with it. What I don't want to do, though, is get into the whole business of mind maps. Been there; done that and it doesn't work for me. The point being, I suppose, that I have to knuckle under and overcome an ingrained disaffection for academia. Also had a chat with the glass supervisor whose favourite question is 'why?' Why do I want to blow drinking glasses? I don't know. Because I don't know if I can. I just can't seem to leave it alone. I suppose I want to see how far I can get with an impossibly difficult medium. And I did have a bit of a break-through this week.
It's hard work, but someone has to do it. I'm researching the cocktail glass for a project that I am currently titling 'Why is a cocktail glass not a shoe?'. So I took Vita off for an evening of learning how to mix cocktails in the Bombay Sapphire Glass House - also to see the exhibition of last year's shortlisted glass art. I'm thinking of trying to design a glass for the next one. 
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.
