Glass Blowing with Elliot Walker

Today we’re going to be looking at the work of Elliot Walker, glass-blower and sculptor. Discovering some of the mysteries of glass-blowing, and getting a sneak-preview of some of the pieces Elliot has been working on ahead of our Spring Edition show!

How did you first get into glass blowing?

‘I started glass blowing about 4 and a half years ago, but in the beginning I wanted to learn glass casting, it appealed more to my temperament as glass blowing is usually quite an extroverted and collaborative activity, whereas I enjoy working by myself.’

‘However, once you start blowing glass it’s very addictive, and I got hooked very quickly!

For those of us who might not know, is there a way you could simply explain how glass blowing works?

‘It’s actually very simple to explain the basics, but there are so many subtleties and directions that you can choose to take during the process that once the basics are dealt with it can begin to seem incredibly complex to beginners.’

‘Essentially, glass becomes a very viscous liquid like honey when it is over 800 degrees C, and it can then be inflated from the inside. As the surface has some tension, it stretches and then solidifies into a bubble. This can then be reheated and inflated more. You can blow glass so thin that it will blow away in a light breeze, much thinner than a soap bubble; this is really great to see!’

What is it about working in the medium of glass that you particularly enjoy?

‘I only really enjoy the finished piece. The process itself is exciting and you get a real buzz from it, but it is also hot and uncomfortable, not to mention risky and expensive. I often think that if I could make my work sitting on a sofa or in a nice bright studio, or like a painter- I would, without a doubt!’

How does working in glass differ from other sculptural forms of expression?

‘It’s so different, from any other medium in that at first it’s quite hard to learn. For example, if I hand you a lump of clay and ask you to sculpt a dog say, you could probably have a stab at it and produce something similar. But If I gave you a gather of glass and ask the same of you, the glass would be a smoking puddle on the floor within 2 minutes. I can’t make dogs even now!’

‘But once your over that, it’s a great medium as it’s almost alive and your emotional mood can affect the outcome as much as your technique. If I'm angry when I start, or calm, the glass seems to pick up on this and reflects that back at me.’

What is the difference between Glass Sculpture and Art Glass?

‘Art Glass is a loose term that I really don't care for. It is basically glass that has been made to promote and emphasise the beauty of the material rather than made for any functional use. This mostly applies to blown glass vessels that have been coloured in various complicated ways. The majority of British studio glass would be classed as Art Glass by some. As to Glass Sculpture, it’s sculpture made from glass, and those making it would consider themselves sculptors first, and glass blowers second I expect.’

You talk of your work as having a conceptual or emotional focus, where do you draw these focuses from, in terms of your own work (as opposed to a commissioned piece) what inspires your creative processes?

‘I think that there is a split in my inspirations that is developing slowly as I produce more work. The first is to do with how subtle deformations of the body and its posture can affect me emotionally, in a similar way to watching contemporary dance. I've never been much interested in detail, more in sweeping gestures.  I'm also interested in how my emotions effect the sculpture I make, this is really not something that I focus on, but I always notice that my favourite pieces have been made when I am feeling a certain way.’

‘The other influence on my work is depictions of 'God' through the human form, this is currently developing in my work at a slow pace, but is always in the back of my mind and prominent in my research and drawings.’

Have you exhibited at Handmade in Britain before?

‘No, I don't exhibit at many shows, as I mainly sell through galleries. But I do enjoy talking to people about my work.’

Have you got any pieces that are being made especially for the event that we can hope to see?

‘Yes, I am making a winged figure for the show that will be a focal piece, as well as showcasing some of my favourite pieces I have made over the past year.’

 ‘Everything I will be exhibiting has been made in the past 8 months, and many are quite unusual pieces in the fact that they are one offs that have their own names.’

Are there any other exhibitors you are particularly looking forward to seeing at Spring Edition?

'I really like the current ceramics scene in Britain and so I'm sure there will be fantastic things for me to look at, if I can get someone to watch my stand for a bit!'

You can find out more about Elliots work at ewalkerglassart.co.ukand www.facebook.com/ewalkerglassart

All the featured designer-makers in our blog posts will be exhibiting at Handmade in Britain's up coming event at the Chelsea Old Town Hall. To find out more about the event, and book tickets head to: handmadeinbritain.co.uk

Tickets now on sale

Handmade in Britain 14:
Spring Edition

The Contemporary Crafts & Design Fair

9th - 11th May 2014
Chelsea Old Town Hall, London

Spring Edition is open:
Friday 9th: 11:00 - 19:00
Saturday 10th: 11:00 - 18:00
Sunday 11th: 11:00 - 18:00

Tickets are available online now at £5
Tickets on the door are £7/£5 conc.

Spring Series: The Natural World Part Two

An exploration of the work of marquetarian Ian Smith, sea glass and silver from Almost Perfect, and the vivid scarves of Taisir Gibreel.

Join us this week as we get a closer insight to some of this year’s designer-makers discovering some of their creative influences and processes. Beginning with the stimuli of…

How do the materials you work in communicate and connect to spring and an awareness of the seasons?

Does the natural world influence your work and creative processes and if so how?

Almost Perfect Jewellery is designed and created by artist Rose Cecil who is based in the picturesque Cornish village of Mousehole. Her interest in the human relationship with the organic world inspires her jewellery collections.

‘Surrounded by inspiration, I explore ideas, textures and themes related to nature, the seasons and in particular the sea. I named my company Almost Perfect to reflect the fact that in nature nothing is perfect and is often more beautiful and interesting than the mechanical symmetry of manufactured pieces.’

‘Making jewellery provides the opportunity to be creative with extraordinarily beautiful and interesting materials. I trained first as a painter and then as a sculptor at Camberwell College. I see jewellery as an extension of my work as a fine artist and my materials as a three dimensional palette. Form, shape, colour and feel determine the design of a piece. I find inspiration all around me, especially in Cornwall where I live.’

‘The starting point for a piece may be a found texture or simply the beauty of a string of pearls. Inspired by the coast, and landscape, I use its forms, shapes and colours to create my signature pieces in metals and semi-precious stones.’

To see more work from Almost Perfect go to: www.almostperfect.co.uk/

Ian Smith is a marqutarian who works using age-old traditional techniques from his studio in Manchester.

‘As a professional marquetarian, the materials I work in connect to spring and the seasons as I work in wood and of course the trees are wonderful examples of the way the different seasons develop. A lot of my work directly reflects the seasons and the choice of veneers is an example of that.'

‘The natural world influences my work directly as I use natural materials to create my pictures! All my veneers reflect life and growth and my creative processes are stimulated by what I see. I am constantly looking for good subjects for my work, either from my own observations or those of my collaborators. These starting points are often taken directly from nature, not just from spring but all seasons.’

‘The choice of veneers symbolises the warmth or coldness of the season being depicted. I particularly love winter scenes based on the work of the old Dutch masters as the veneers again perfectly reflect the tone and atmosphere they were aiming for.’

To find out more about Ian and his work go to: www.themarquetryshack.com

Taisir Gibreel's Colourful scarves combine pattern and bold colour to create unique prints taking inspiration from the landscapes of her Sudanese- British heritage.

‘Bold structural imagery drawn from urban Scotland against a backdrop of colours and shapes from the Highlands, provides her with a treasure trove of rich colours and wonderful organic shapes. An eclectic fusion of cultures’

‘The Scottish landscapes provide me with a treasure trove of rich colours and wonderful shapes. I believe by showcasing my Sudanese and British roots and drawing inspiration from the colours and shapes of the Scottish Highlands, I create distinctive and unique prints.'

‘The collections of pure silk and wool scarves are bewitching, bold and abstract designs and we produce them in the UK and Italy insuring quality, which is of the utmost importance. Stunning, luxurious silk shift dresses will also soon be joining my expanding collection!’

To find out more about Taisir Gibreel: www.taisirgibreel.co.uk

All the featured designer-makers in our Spring Series: The Natural World blog posts will be exhibiting at Handmade in Britain's up coming event at the Chelsea Old Town Hall. To find out more about the event, and book tickets head to: www.handmadeinbritain.co.uk

Tickets now on sale

Handmade in Britain 14:
Spring Edition

The Contemporary Crafts & Design Fair

9th - 11th May 2014
Chelsea Old Town Hall, London

Spring Edition is open:
Friday 9th: 11:00 - 19:00
Saturday 10th: 11:00 - 18:00
Sunday 11th: 11:00 - 18:00

Tickets are available online now at £5
Tickets on the door are £7/£5 conc.