galeri, caernarfon
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The
source material for these four large, ground floor windows
was provided by artist and critic, Iwan Bala. The silhouette
figures were first created by local schoolchildren for the
hoardings surrounding the building.
The boat/island motif is inspired by
legends and myths from the earliest stories of the British
Isles, and was designed for the building’s logo, and
represents a magical island on a horizon, where art and
life blossom.
The third design element is an enigmatic image of the geographic
outline Wales as a female form, dancing across the glass.
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Together,
these elements create a story unfolding, of art giving birth
to new horizons, and is encapsulated by the words of local
poet Meirion Macyntyre Huws which are inscribed upon the glass:
“C'narfon sy'n cynhyrfu” (Caernarfon is awakening).
The windows were installed in November 2004.
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riverfront theatre, newport
LIFT
SHAFT CLADDING
The Lift Shaft has been clad with large sheets of textured,
toughened glass.
The design was inspired by the water
movements, and the patterns in the mud, in the adjacent
river Usk.
Coloured fibre-optic lighting illuminates
the glass from above and below, the colours continuously
changing through the spectrum.
SCREEN AROUND STAIRS TO DANCE
STUDIO
The Design illustrates ambiguous human figures, which appear
to either dance or swim through a blue and turquoise watery
background.
The Screen was made by painting glass
enamels onto 18mm fire-resistant Pyrostop glass.
FLOOR LIGHT COVERS (not
shown)
Six glass floor light covers in the main entrance, and two
in the riverside entrance, are illuminated from below.
The works were installed in September
2004
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lyceum theatre, sheffield
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The
windows represent a cross-section of the theatre’s
fly-tower, as if the curtain wall has been removed, and
the internal machinations revealed.
The top floor shows the steel grid and
a castellated beam, beneath which lies the stage below.
The vertical blue lines represent the steel wires from which
the scenery is suspended.
Each of the three lower windows illustrates
an imaginary theatrical set, suspended above the stage,
ready and waiting to be lowered into place.
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The “antique” glass was manufactured by Lamberts
of Waldsassen, Germany, and has been opalised - a thin,
milky surface layer has been laid on the base sheet and
increases luminosity, especially at night.
The coloured areas use “flashed” glass, whereby
a thin coating of coloured glass has been layered (“flashed”)
over the base sheet and the opalescence. The designs have
been etched with hydrofluoric acid, which erodes the “flashed”
coloured coating to reveal the base sheet underneath.
The total area of glass is 37.42 metres square, and the
windows were installed in 1990.
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city library and arts centre, sunderland
The
Design is based on classical Roman lettering, as exemplified
by Trajan’s column in Rome. The Latin text for the
windows is from Gifts For The Monastery, the work of the
Venerable Bede, the sixth-century monk with significant
historical connections to Sunderland, and reads across the
windows, commencing on the first floor and continuing on
the second.
The windows have been designed in small
sections of colour to accommodate the size of glass produced
by Hartley Woods, and the letterforms have been applied
to the coloured glass using a silk-screening process.
The work was installed in 1995.
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stephanie macleod memorial window, taliesin arts centre, swansea
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I
had known Stephanie MacLeod as a friend for many years and
was delighted to be asked by her family to make a memorial
window after her premature death in 1996.
The Design collects together some
of Stephanie’s favourite colours and objects, and
is intended to inspire her memory.
The window was installed in 1997,
and is made of hand-blown “antique” glass, manufactured
in Germany. The background to the white area has been treated
with glass lustres to produce a metallic effect.
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entrance screen, haverhill arts centre
The
former Town Hall at Haverhill was converted into an arts
centre in 1994.
The original benefactors of the Victorian
building were the Gurteen family, local industrial and agricultural
clothing manufacturers.
The Design comprises patterns from traditional
agricultural and industrial smocks made at the Gurteen’s
Chauntry Mills, in Haverhill, and includes those of the
Dorset Woodman, the Buckingham Shepherd and the Shropshire
Butcher, together with a wagonner’s smock, a zigzag
motif and buttons.
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Coloured enamels were silk-screened onto float glass by
Livermead Glass Art, London, and the work was installed
in 1998. By changing the scale of the smocking patterns,
the Design begins to resemble a magic carpet, suggesting
storytelling, theatre, fantasy, and the suspension of belief
necessary for an appreciation of performance art.
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oriel myrddin, carmarthen
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The
Design refers to the ancient oak tree in Carmarthen, which
is reputed to have sheltered King Arthur’s sorcerer,
Merlin.
The symmetry of the windows’ mullions
is retained and the clear glass background maintains continuity
with the adjoining windows. The leaf forms were created
using glass enamels and lustre, and then sandblasted to
create depth and give night-time interest.
The windows were installed in December
1999.
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