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Email Page| HI-Arts | > | Crafts | > | Makers of the Month | > | October 2008 Shelagh Swanson |
Shelagh Swanson
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| Shelagh Swanson Background I graduated in 2004 with BA Hons (Fine Art) Painting, and returned to Caithness to work in the St Fergus Gallery, Wick. At this time I was using a variety of materials, mainly creating mixed media collages and constructed pieces using found objects. In 2006 I was offered a 6 month Artist Residency at North Lands Creative Glass under the Scottish Arts Council’s Partners scheme. This was a collaborative project during which I worked alongside Glass Artist Kate Williams (London) and writer Janis Mackay ( then Edinburgh, now based in Dunbeath.) This project was made up of 50 % community outreach and 50% studio time, time which I spent developing new work in Visual Arts alongside having my first experiments in Glass. Completing the Bullseye Masterclass with Silvia Levenson at North Lands Creative Glass in June 2007 was a turning point; for the first time I could truly see the potential of glass as my expressive medium. Earlier this year I was given the opportunity to collaborate with Glass Artist Karl Harron, during a 3 month Residency at Broadfield House Glass Museum and Red House Glass Cone, West Midlands. Again this Residency involved a large amount of community contact, this time with schoolchildren. My studio time focused on advancing my technical skills. Most recently, in August, I was invited to lead the Kilnforming workshop at Broadfield House Glass Museum as part of the International Festival of Glass 2008. I construct artworks, in mixed media and glass, which narrate an experience, communicating my bond with the customs, traditions and landscape of the rural community to which I belong. Why did you want to attend this conference? Having completed the 3 month Residency at Broadfield House Glass Museum, West Midlands, following my period as Artist in Residence at North Lands Creative Glass in 2006, I felt it was time to broaden my horizons and attend the 38th GAS Conference entitled “Forming Frontiers” conference in Portland, Oregon, the centre of Kilnformed Glass in the world. Right from the beginning of my “glass career” I had been told what an amazing place Portland is, I just had to experience it for myself. On looking at the programme of events I looked forward to experiencing lectures and demos from the highest standard of Glass Artists, with the intention of applying this within my own practice and raise the standard of my production to a higher level. I was interested in going not only to network with fellow Craftspeople but also to re-establish links with Glass Artists whom I have been fortunate enough to work alongside during my Residencies. Did you feel it was worthwhile experience? It was without question a worthwhile experience. Other than the conference itself, which more than lived up to expectations with the quality of demos and workshops, I discovered that Portland itself has a thriving Arts community and a large network of glass artists and studios—many striving to push the boundaries of glass art. After the conference I spent a week exploring these studios and galleries. The Arts, and more specifically glass, seem to have an everyday relevance to Portlanders; many buildings and offices featured commissioned glass pieces, and attractions, for example the Japanese Gardens, held exhibitions to coincide with the GAS conference. Attached photo Jun Kaneko, African Reflection, part of “Art in the Garden” at Portland Japanese Garden |
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| On my return to my studio I felt totally inspired, being in such a creative, positive atmosphere re-ignited the want to make, to create. My kiln has hardly had a day off since my return! In my practise I solely use Bullseye Glass and it being one of various Glass manufacturers based in Portland I was able to visit the factory giving me an insight and so deeper understanding of the material. Experiencing the infamous Bullseye “Lehr- B –Q” is also something I recommend to everyone! Has your work changed since you were there? I experienced such a high level of glass making, at one level it made me realise just how far I’ve got to go! However this can only be positive as it is this quality I aspire to. There is such an array of styles and innovations taking place in the glass world, the problem is finding your own niche, something that identifies you from the rest. Whilst at the conference I invested in a number of new products, and have been experimenting with the new materials since my return, with some very interesting outcomes. Have there been any unexpected benefits from your visit? Whilst in Portland I established a number of links and, I hope, lasting friendships with artists and gallerists in the area and the wider USA. Having had a number of invitations I plan to return to Oregon in the New Year. Another unexpected benefit was that of learning to appreciate what I have in my own locality, more specifically North Lands Creative Glass. It is a fantastic facility, with worldwide renown, something that was highlighted during the conference. A number of artists name checked the facility during presentations and cited the surrounding landscape as a great source of inspiration. Next week I am fortunate enough to be a student at the studio, in ‘Landscapes and Mirrors,’ a Masterclass led by Swedish Artist Ann Wolff in collaboration with Berlin based architects Jean –Marc Abcarius and Christopher Burns. It is amazing to have such an opportunity on my own doorstep. Shelagh Swanson/ Pamela Conacher September 2008 www.shelaghswanson.co.uk |
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