Last chance to take part in our hot glass Master Classes this year.
There is still some limited funding available.
To apply, click here and fill in the form
Contact Grace on 01593721229 or email@example.com for more information
Two of this year’s Classes use hot glass techniques: ‘The Unique Genius Loci of the Space’ with Petr Stanicky runs 27th August – 4th September. ‘Are You Experienced?’ with Richard William Wheater runs 9th September – 17th September.
Compared to many glass techniques, what can be achieved in the Hot Shop using molten furnace glass is fast and rewarding. By working hands on or collaboratively with skilled glassmakers, small experiments with processes can lead to big ideas. Having gained some knowledge it’s possible to direct a skilled maker to make your work in an informed way, becoming more involved in the process. An intensive class enables you to explore the potential of techniques such as free blowing, solid forming, mould blowing, picking up and pouring or possibly combining materials and techniques with your own specialisations. You can work independently and pool resources, expand your skills, knowledge and apply it to your work.
This year we also bring neon into the Hot Shop and an opportunity to create and document work in the landscape with a focus on understanding sculpture through process and place.
We asked Richard and Petr, from the point of view of a participant, to tell us more about what they plan to do in the Hot Shop at North Lands Creative Glass.
(Q – question, R: Richard, P: Petr)
Q: Normally neon shapes are flame worked over a burner. What would be the difference in adding neon to forms made from blown furnace glass?
R: The diameter of glass significantly affects the physical appearance of neon light. Blown forms often contain various diameters and glass wall thickness, providing a less clinical aesthetic to that of flame-worked tubular glass.
Q: As a participant will I learn how neon works? Is it easy to get access to if I want to continue? Is it expensive?
R: Access-wise for the UK, Neon Workshops is the only place I’m aware of that hires out its neon facility, though some University glass departments may have flame-working facilities that would enable a form to be made before sending to Neon Workshops for processing.AA2AC is a good resource for assisting artists with gaining access and offering financial support to use such facilities.
Q: I want to participate in the class to see what can be achieved by pooling resources working as a group, but can I still take a piece of glasswork away with me?
R: If you want to take a working piece of neon away from the workshop then this can certainly be achieved.
Q: How will the class document the work?
R: Photography/video through using your phone or something more dedicated.
(Richard will also be working with a photographer and assistant through stages of the class.)
Q: Normally neon is fixed to a location but with a mobile unit can we go to a specific location and install a work?
R: Yes, there will be two mobile hand-held electric generators, as well as special neon power supplies* that can be connected to a 9-12V battery.
*these can be loaned during the workshop and will be available for sale afterwards.
Q: Will I learn about form and coloured light?
R: Yes, absolutely!
Q: What advantages are there to working in a group?
R: There is an appealing energy from a group which can be unattainable in an individual. There are also the practical reasons such as someone asking an interesting question that another may not have thought of, but becomes inspired by the answer.
Q: I’ve never worked with neon or blown glass could I be part of this class?
R: Few have worked in such a niche discipline as neon, inexperience is the norm and will not restrict your workshop achievements.
Q: Will I be shown processes through demonstrations?
P: Yes that will be possible. In this workshop we can help participants find processes which work with their ideas such as blowing, hot forming or pouring into sand. But this is not a class about learning specific techniques. It’s about exploring hot glass in this particular time and place.
Q: Can I spend time experimenting with furnace glass?
P: Yes this is a great opportunity to try new things, respond to the place and material and to find new directions.
Q: Can I use the hot glass if I’m a beginner?
P: Yes you can make small things yourself in this amount of time; get a feel for the material.
(James Maskrey is a very experienced glass blower who will gaffer for the class and help participants to realise ideas.)
Q: Can I make moulds to form blown or poured glass and will I be taught this as part of the class?
P: In this amount of time it would be possible to try perhaps blowing into a simply constructed wooden mould or into sand.
Q: How will I develop work?
P: Finding freedom and an intuitive response are important. You can develop work through drawing and model making and experimenting with process.
Q: How much will discussion time feature in the class?
P: I think it’s important to ask questions and answer them yourself, to be intuitive with your work and not spend too much time discussing. The advantage of being in a group is that you can learn from each other.
Q: Can I combine materials or other types of glass? If so what’s available?
P: The basic materials, clay, plaster, some sheet glass and things you find in the area. We are responding to this place, the space, light, environment and glass. The idea is to open new paths for an artists work.