st michael's school chapel, bermondsey, london

chapel window

This window was designed for the chapel in a new Catholic school building.  My intention was to create a quiet and contemplative atmosphere for the act of prayer.  The primary considerations for the designs were the keywords of Mystery, Light, Depth, Forgiveness, Selflessness, Peace, Salvation, Meditation, Love, and the contemporary quality of the architecture.

Images of doves and wings refer to St Michael, and the doves also signify peace. The circular shapes represent the cyclical nature of life, and can also be read as halos. The predominantly blue and purple colours are both associated with contemplation.

The window was made using traditional and contemporary techniques.  Flashed 'antique' glass has been airbrushed, sandblasted and painted before being bonded onto 6mm toughened glass, and incorporated into a double-glazed unit at Peters Studios, Paderborn, Germany.  The window was installed in December 2010.


st clement's church, chorlton-cum-hardy, manchester

stained glass

helen rafferty memorial window

This memorial window is dedicated to the memory of Helen Rafferty (1965-2005), an active member of the community and former schoolteacher. 

It was sponsored by generous donations from family and friends, and was installed in August 2008.  It was dedicated at a special service conducted by the Rt Revd Nigel McCulloch, Bishop of Manchester, on Saturday 13th September 2008.

The design for the lancet windows has been screenprinted onto float glass by Proto Studios Ltd, using enamel paints, and subsequently toughened and laminated, for safety. 

The tracery windows have been made using traditional stained glass techniques.  The blue ‘flashed’ glass was made in France, and the individual pieces have been etched and painted, before being leaded and soldered together.


stained glass

The design is based on the poem, 'Aedh Wishes for the Cloths of Heaven' from 'The Wind Among the Reeds' (1888) by William Butler Yeats (1865–1939).

Had I the heavens' embroidered cloths,
Enwrought with golden and silver light,
The blue and the dim and the dark cloths
Of night and light and the half light,
I would spread the cloths under your feet:
But I, being poor, have only my dreams;
I have spread my dreams under your feet;
Tread softly because you tread on my dreams.



dorset gardens methodist church, brighton

stained glass

decorative glass

The designs for the six Chapel Windows are abstract, based on the movement of water.  They refer to Brighton’s seaside location, and act as a metaphor for water as an agent of physical and spiritual regeneration within the Christian tradition. 

At the base of each window, the whorl symbol represents the universe and the creative force of God.  The design for the Cross uses watery imagery and movement similar to that in the chapel windows.

The pair of windows on either side of the Communion Platform symbolise the earth and the sea and illustrate the loaves and fishes shared by Christ at the feeding of the five thousand.

To the south, the blue window shows seven little fishes in the sea, above which is echoed the spiral whorl symbol from the Chapel windows. 

On the north side, the warmer-coloured window depicts heads of Emmer wheat, representing the bread of the communion and the body of Christ.

stained glass

The five panels of the Sanctuary Screen repeat the Emmer wheat imagery.  This fire-resistant float glass has been etched with white acid to achieve the quality of the design.



st peter & st paul's church, nutfield, surrey

stained glass

robert and patricia todhunter
memorial window

The window, installed in 2001, commemorates the life of Captain Robert Charles Todhunter (1903-1999) and his wife Patricia Estelle (?-1986), and was commissioned by his family.  The window was designed to complement the Gothic style of the church and the colouration of the existing stained glass windows, (particularly that of Sir Edward Burne-Jones), and to allow plenty of light to permeate through.

The design is based on a symbolic tree, which is intended to represent an apple tree, the Tree of Jesse and a Christmas tree.  The apple tree held a special place in the affections of Patricia Todhunter.  During the Second World War, in the event of her death, she requested that her husband "plant an apple tree for me, just an ordinary apple tree – it is the blossom I love."

The first stanza of the hymn, Jesus Christ the Apple Tree, is inscribed in the glass along the bottom of the three windows, together with the dedication "To the Glory of God and Remember Robin and Patricia Todhunter".  The running fox in the bottom right hand corner is the crest of the Todhunter family, originally professional foxhunters in Cumbria.


stained glass

"I get constant pleasure from this window; the way the pink of the apple blossom comes and goes, providing varying degrees of translucency, the way the sun, shining through, colours the walls and pillars of the church, the textures of the leaves, the way it shines like a jewel as one approaches the church in winter darkness and so on. I take great pleasure in explaining it to visitors, and I think that we are very lucky to have such a splendid piece of contemporary work in the church." 

Charles Thompson, Organist.



royal hospital for children, bristol

stained glass

chapel & quiet room

The Chapel and adjoining Quiet Room in the new Royal Hospital for Children in Bristol is a Christian place of worship, but can be adapted for other religions.  I was commisssioned to design both the glasswork and the internal space.

The glasswork consists of the window in the Chapel and a small window in the adjacent Quiet Room, two toughened glass panels in the corridor outside the Chapel, and a back-lit panel in the Rainbow Room.

Lilies, symbolising purity, provide the theme for the glasswork, and is accessible to differing cultures and age-groups.  Flowers are a universal metaphor for the innocence of children as well as being beautiful shapes with which to work. The colours take advantage of the bright afternoon sunlight, which allows them to reach their full intensity.  An adaptation of Psalm 103 Verse 15, 'Our days are like those of grass; like a flower of the field we bloom' is inscribed along the bottom of the window.

The window aperture in the Chapel creates a kind of ‘V’ shape to the room.  This is echoed by the design of the ceiling, which follows the lines of the room into an apex, and floats upwards in three tiers, concealing the internal light fittings.


stained glass


The Altar was designed with my brother, Jonathan Jones, working with the ‘V’ shapes already present in the room. The base has been hand-made in Massai Birch veneer by Matthew Smith of Bristol, above which floats a slumped glass top, reminiscent of water. 

Two poems, which make reference to the seasons and the colours of the windows, were commissioned from poet Elsa Corbluth, and were inscribed on two of the chapel walls by professional calligraphers, Xheight Design.



chapel complex, conquest hospital, hastings

stained glass stained glass

stained glass and altar screens

The design of these windows is based on enlarged leaves of oak, alder and holly, and ferns, natural objects of beauty and rich in meaning and symbolism.  The leaf is emblematic of the natural lifecycle, of seasonality, of generation and regeneration, of birth, life and death.  Leaves evoke the healing properties of time and nature – in particular, the natural vegetative derivation of medicines, and the foundation of pharmacology – and the practice of bringing flowers to the sick, to aid recovery.

Oak leaves represent the human body and positive human qualities of strength, protection, durability, courage and truth.  They are appropriate for the Chapel, being a Christian symbol of strength, and steadfastness of faith in the face of adversity.

Serrated holly leaves signify Christ’s own crown of thorns, whilst the holly is often depicted in the Christian tradition as the tree of the cross.  The alder is associated with death and resurrection, whilst ferns symbolise solitude, sincerity and humility before God.

stained glass artist