Kiln-formed glass made through breaking, layering and reworking. The work is cut, assembled and fired in the kiln, moving through controlled stages of heat and cooling. Pieces are often returned to the kiln multiple times as they develop.

Different glasses respond differently under heat depending on their COE (coefficient of expansion), which affects how they can be combined. Early work focused on understanding how these materials behave and how far they can be pushed together.

A period of development introduced mould making and working in three dimensions, alongside ceramics and copper. This has shifted how forms are built and opened up more experimental approaches.

Across the work, heat, pressure and material change remain visible. Colour, surface and pattern shift through each stage of firing and reworking rather than being fixed from the start.

Stained Glass

I work with free-hanging stained glass roundels made using hand-rolled glass and vintage offcuts. I use the Tiffany technique, cutting sheets of coloured glass to fit a pattern, then grinding each piece so the edges sit together accurately.

The glass is wrapped in copper tape and soldered to form the image, before being finished with lead came around the edge. Pieces are then hung using steel wire and copper ferrules sourced from a boat chandlery.

The majority of glass I use is made by Bullseye Glass Co. in Portland, Oregon, a family-run company founded in 1974. They produce mouth-blown and hand-rolled artisan glass. Bullseye are working to reduce emissions and protect their local environment.

Bullseye supply Warm Glass UK, my main glass supplier. Warm Glass UK are a B-Corp company ensuring glass is supplied ethically. I also purchase glass and equipment from Creative Glass Guild. Both are Bristol-based suppliers with a strong focus on supporting creative communities.

Packaging is reused wherever possible, using corrugated and shredded cardboard, bubble wrap and packaging materials that come with glass deliveries.