Jeffrey Sarmiento

Jeffrey Sarmiento’s working methods for image transfer in glass have taken him all over Europe and the US as an artist and academic. He holds an MFA from Rhode Island School of Design and a PhD from the University of Sunderland, where he is Reader in Glass. He has also lived in Denmark as a Fulbright fellow, and received emerging artist residencies at UrbanGlass in New York and at Pilchuck Glass School. Based at the National Glass Centre in Northeast England, Jeffrey leads the print and waterjet research areas by teaching, executing artist projects and making his own artwork. As a Filipino-American, his work is inspired by foreign ethnic contexts, expressed through collisions of layered images within glass. His work has been shortlisted for the Bombay Sapphire Prize, and he has held solo exhibitions in Copenhagen, Portland, and Istanbul. In 2012 he was the UK national commissioner for the European Glass Context in Denmark, and he also won the International Glass Prize, at GlazenHuis, Belgium. His artwork is the collections of the Museum of Liverpool, UK, the Speed Museum, USA, and the City of Lommel, Belgium.

working methods for image transfer in glass have taken him all over Europe and the US as an artist and academic. He holds an MFA from Rhode Island School of Design and a PhD from the University of Sunderland, where he is Reader in Glass. He has also lived in Denmark as a Fulbright fellow, and received emerging artist residencies at UrbanGlass in New York and at Pilchuck Glass School. Based at the National Glass Centre in Northeast England, Jeffrey leads the print and waterjet research areas by teaching, executing artist projects and making his own artwork. As a Filipino-American, his work is inspired by foreign ethnic contexts, expressed through collisions of layered images within glass. His work has been shortlisted for the Bombay Sapphire Prize, and he has held solo exhibitions in Copenhagen, Portland, and Istanbul. In 2012 he was the UK national commissioner for the European Glass Context in Denmark, and he also won the International Glass Prize, at GlazenHuis, Belgium. His artwork is the collections of the Museum of Liverpool, UK, the Speed Museum, USA, and the City of Lommel, Belgium.

Robyn Townsend

My work is focused in the areas of psychology, biology and philosophy but the key theme of my work is the human condition, I am fascinated by the study of the Human, the way we think, the way we act and the way we feel. I want to show people for their similarities rather than their differences, their universally qualities that are consistent regardless of race, culture, gender or political background.

I am using intimate and recognisable body parts that give no hint of identity, to highlight the anonymity of people as well as reflect how our actions, often guided by our internal thoughts and fears, allow us to form our own human nature and create ourselves.  As well as casting with industrial materials to create a unique aesthetic and lifelike atmosphere.



Philippa Whiteside

With a fascination with lettering and words, it seems everything I make has this link running through in one way or another. Drawing people in, their use can provide an added plot and intrigue. Combining ceramics and textiles I experiment with surface decoration and texture, playing with porcelain’s capabilities and natural beauty.

After graduating from Sunderland University in 2010 with a BA Hons in Glass and Ceramics I was awarded a 12 month scholarship with Creative Cohesion, supported by Sunderland City Council. This provided a fantastic opportunity to continue being creative and find my way with clay. In May 2011 I was flattered to be elected a Director of Creative Cohesion; and through this community I have been able to develop my practice and not feel completely lost! I am still based at Creative Cohesion, where I now run my business from, playing with clay in my little studio creating things to make you smile and brighten up the everyday. All my pieces are created to include discreet design detail and are finished to the highest standard.

The past year has been fantastic for my ceramics, I have been able to learn more about the style of work I create and grow my skills and knowledge. Helped with increased exposure through publications and a runner up of the Young Artist of the Year 2011 award my confidence has grown and I am very excited to see what 2013 brings.

Phil Vickery

Phil Vickery is an international award winning glass artist who is based in the North East of England. As an artist Phil finds glass one of the greatest challenges. One has to understand not only about art theory and contemporary contexts, but also the nature of this fluid material.

Phil Vickery won an award in Washington DC, the Renwick Award for Distinction in Glass in 2009, and in 2011 was chosen for one of five Honorary Diplomas of the Jutta Cuny – Franz Foundation, Germany. Most recently he was the winner of the Art In Lyddington award for best 3D in show, UK, 2012.

His work involves two representational concepts; one around the natural power behind thought, human nature, and how the subconscious is woven into this equation and relationship. And another, an evolution of technique representing nature, life, energy, and movement; gathered upon over and over again to make the internal twisting more encased inside clear glass to form an aesthetic of maelstroms in water. Gold is added to create a plethora of stars and it is flattened to form a flat oval shape. The sculptures are either one-off individual pieces or individual pieces in a series. All the work was hand blown and cold-worked to a high standard for commission or exhibition for sale around the world.


Megan Randall

Megan Randall is a contemporary ceramic artist, and is a current PhD student a Sunderland University where her research focuses on the placement of domestic ceramic objects responding to the context of site.

Her work makes use of thrown porcelain alongside other less traditional materials and found objects. Working on the wheel is repetitive this gives pieces a rhythm and flow. Recent work has focused on willow pattern designs, which create their own narrative around domestic spaces, industrial sites and the notions of home.

In the past her work has included site specific installation and interventions alongside designed and hand crafted ceramic objects. The link between the separate worlds of fine art concept and that of designer/maker is the consistent use of porcelain which evokes a sense of luxury, fragility and, in some pieces, vulnerability.

Her work combines new technology through the use of the waterjet cutter with the altering of the readymade object.  This informs both the fine art and design practices which she runs in tandem.

Megan has exhibited nationally within the UK including in the British Ceramic Biennial and at The Design Event in Newcastle upon Tyne.

James Maskrey

James Maskrey started working with glass in 1990. He originally trained as an apprentice and subsequently worked for 7 years at a hot glass studio in Dorset. He left to study a Three Dimensional Design BA(hons) degree in glass at The Surrey Institute of Art and Design graduating in June 2000. After graduation he was appointed as Artist in Residence at the Surrey Institute. In 2001 James joined the Glass and Ceramics department at The University of Sunderland. In 2002 he started his Master of Arts studies at the University. He graduated with an MA in Glass with distinction in 2004.

James continues to work for the University, fabricating work for visiting artists and supporting students, staff and associated University schemes. He has worked on projects with the National Glass Centre and the Bowes Museum and masterclasses at Northlands Creative Glass, Scotland, and Sars Poteries, France.

His own work is held in many collections including The Crafts Council, Dan Klein and Alan J.Poole (National Museum of Scotland), Perth Museum and Art Gallery, Northlands Creative Glass, The Captain Cook Memorial Museum, Manchester Metropolitan University special collection and Crystallex (Czech Republic). He has exhibited widely in the UK, in the USA and at the International Glass Symposium in the Czech Republic.

Description of Works

The Worst Journey in the World first published in 1922 was a book written by Apsley Cherry Garrard, chronicling his experiences during Scott’s fateful expedition of 1911.

The title refers to the ‘Winter journey’ of 130 miles, carried out in temperatures of  -60c and 24hr darkness, with companions Dr Edward Wilson and Birdie Bowers, to collect Emperor penguin eggs from the rookery at Cape Crozier, of which only 3 survived. The journey was made in the hope that these eggs would yield the scientific holy grail of the missing evolutionary link between dinosaurs and birds. The embryo of the Emperor Penguin was regarded as a major ornithological prize, a scientific equivalent, perhaps, to obtaining the Pole itself.

Garrard was the only survivor of the winter journey as both Bowers and Wilson perished with Scott on their return from the pole, only 11 miles short of one ton depot.

Last Entry, Winter Journey and The Barrier, are vessels containing written remnants of Scott’s Terra Nova Expedition of 1911.

Inge Panneels

I have been designing and making bespoke architectural or sculptural glass pieces since 1998. Both work in tandem and could not exist without the other.  Inspiration for my work is driven by location and circumstance and life’s rich tapestry but a recurrent theme is universal complementary opposition and the map as metaphor.   Sculptural works are often made in series; exploring a central theme through a body of work that may last a few years.

The “Creation” pieces explored universal creation mythology in a series of sculptural light pieces (now in Dexia collection, Brussels, Belgium). “Sanctuary” explored forms of sanctuary (now in Ebeltoft Glass Museum, Denmark).   A body of work exploring mapping is emerging; such as “Liverpool Map (2011) commission for the Museum of Liverpool, with new work being developed inspired by residencies at Mercator Museum (Belgium) and Jedburgh Abbey in 2012, to be completed in  2013.

“Micro Macro” juxtaposes the map of a river estuary with the image of a bloodvessel and highlights the communalities. Other work includes the ‘Estuary’ pieces, working with existing coastlines and topographies to create new maps.

My work has been described as having a “fantastic stillness” (Homes and Interiors Scotland), “hauntingly beautiful” (Aberdeen Art Gallery), with a “meditative quality” (Crafts).  “Her work combines high technical ability with a really creative approach. It is what everyone aims for but which is so hard to achieve.” (Glass in Scotland).

Roger Tye

Roger Tye has been making glass since 1976, initially as Master production maker for the studios of Pauline Solven and Charlie Meaker, before setting up his own full time practice in 1989.

He has exhibited and sold his production ranges and sculptural work widely throughout the UK and internationally to 28 countries and is widely regarded as a consummate glassmaker. Blue-chip clients include Shell, British American Tobacco, American Airlines, NSK, Nissan and the Law Society. He has also been commissioned to create important presentation pieces for VIP’s, Heads of State and the Royal Family.

Roger now concentrates on (design award winning) new sculptural works for exhibition and commissioned work for private collectors. His most recent body of work also combines glass with slate and metal and offers wry observations of social events and situations

Criss Chaney

Criss Chaney is and internationally recognized glass artist, who has exhibited extensively in the UK, Europe, and the United States. Including a solo exhibition at the Museum Humanum in Austria. For years she has been developing techniques for combining glass and metals, exploiting methods for working with both materials. Her pieces make people question their views on glass and push the boundaries between glass and other media. She now makes her work at Creative Cohesion in Sunderland, where she has recently completed a large public art commission.

Criss Chaney’s work is about the human experience, spirituality and the subconscious. Throughout time and across cultures humans have felt the need to create religions, spiritual practices, and art to express their subjective and intuitive experiences.

‘Artefacts have a life of their own that span many human lifetimes. They can often be the only windows we have into another person’s life and how they understood the world. From the objects that people leave behind, we learn of their stories and myths, we find caves playing a mythical role in society. Caves are closely tied with female sexuality and the Mayans believed caves to be sacred, a place where the gods could move between worlds. In my work I use caves to explore the subconscious, and spiritual dimensions of human existence. With the shift to a secular society, science has replaced mysticism and has renamed the realm of the gods ‘the subconscious’. Spirituality, psychoanalysis, and art are all human endeavors to explore this hidden aspect of our nature.’



Colin Rennie

Colin Rennie has worked with glass as a material for sculpture since 1992. While studding at Edinburgh College of Art for a BA and MA degree he developed a love of glassblowing and cold glass working which is still a significant part of his current practice.  Alongside and complementing working as an artist, he has taught in renowned centres of glass excellence, currently at the University of Sunderland where he runs the BA Hons Programme in glass and ceramics, and also at the University of Wolverhampton and Sars Potteries, Musee atelier du Verre In France.  In that time his work has achieved recognition in major collections and competitions, including the Victoria and Albert Museum London,  Ebletoft Glass Museum Denmark,  Hsin-Chu Municipal Glass Museum, Taiwan, Ernsting Stiftung Glasmuseum Germany, and nomination for the Jerwood prize for glass. A predominant and consistent theme in the work has been the blending fields of science and religion, or of computer aided design and craft manufacture. Working in the grey areas between the poles provides an opportunity to work with hybridisation and ambiguity provoking responses that often reveal the viewers need to categorise and define.  Rennie lives and works in the Northeast of England.

Cate Watkinson

Cate Watkinson of Watkinson Glass Associates has over 20 years experience as an architectural glass artist, designing and fabricating architectural glass to commission for a wide variety of applications. During this period she has been instrumental in developing the potential of glass in the public realm. Her projects range from decorative glass panels for public and private buildings to street furniture and sculptural public art pieces. She has also exhibited her works in galleries in the UK and across Europe. Through commissioned works Cate has built up a wide range of innovative techniques and has gained significant knowledge and experience working with glass on a large scale in the public realm, not only in aesthetic terms but also in design of structure and durability of materials used. Since 2006 she has held the post of Subject Leader and Senior Lecturer in Architectural Glass at the University of Sunderland in the UK.

The work she is showing here is based on the movements, rhythms and processes involved in weaving cloth. Many of Cate’s ancestors worked in the textile industry in the woollen mills of the north of England. In these pieces she pays homage to the labours involved and celebrates the processes of making, both of cloth and in her own chosen material, glass.

Brian Thompson

This ‘Collection’ of sculptures in topographical in nature and is part of a project drawing together interests in revealing the northern landscape with the developments of new crafts in making sculpture. The inspiration comes from the idea of journeys and in this case celebrating the great northern rivers of the Tyne, Wear and Tees as they travel to the sea.

These ‘journeys’ are recorded through tracings from aerial photographs of the rivers. The traced images are used to make precision digital templates from which layers of sheet glass are cut using a water-jet cutter, each layer becoming a template for the succeeding layer. Through small increments of size, introduced by the process, the sculptures evolve tapering downwards from top to base; marking, layer upon layer, in geological fashion, the time of their making.

I am interested in how journeys explore landscapes, how paths get worn, compress and build up over many generations; how rivers cut and change course as they journey to the sea. These routes and points where they cross reveal the topography of the world and tell us something about how we come to know and navigate it. These sculptures extend an ongoing engagement with landscape and through sculptural metaphor seek to give the genius loci or a sense of the chosen places.

Stephen Beardsell

I graduated from the University of Sunderland achieving an MA in glass 2006 and BA in glass and ceramics 2001.

I have been involved in sculpture for the past 17 years. My aims have been, and continue to be, to create mixed media sculptures that sit comfortably in the natural environment without conflicting with their immediate surroundings.

I spend much of my spare time outside camping, fishing, walking, foraging but all the time observing and it’s these observations that influence my sculpture. How things grow, evolve and exist, also the interaction between the environment and us.

The qualities of glass, transparency, depth and the how vibrant colures reflect on the inner surfaces have drawn me closer to understanding the direction I would like my career to move in.

Techniques I use are hot blown glass, hot sculpting, and hot casting into sand or graphite moulds, carved by myself (a very dirty job). I also kiln form glass and have recently kiln cast the largest singular piece of glass in the UK, a large oval red lens weighing 350kg, cast in a Czech glass. I am currently working on a book which describes the processes involved in casting such a large piece of kiln formed glass.

A recent solo exhibition in Mayfair, London, led to 2 of my sculptures being shipped to a Cape Town, South Africa, where they are now displayed in a private sculpture garden.


Dr. Andrew Livingstone

Dr Andrew Livingstone holds a BA(Hons), MA and a PhD, The Authenticity of Clay and its Redefinition within Contemporary Practice: Ceramic Familiarity and the Contribution to Expansion. He is an academic at the University of Sunderland where he leads both MA Ceramics and CARCuos the Ceramic Arts Research Centre. His exhibitions include The Smithsonian Institute and the Garth Clark Gallery, New York. He recently exhibited in ‘Red Hot’ an exhibition of clay in contemporary art in Germany together with Ai Weiwei and Richard Deacon. His work is held in many private and public collections internationally, including Yingge Ceramics Museum, Taiwan and the Garth Clark Mark Del Vecchio Permanent Collection at the Museum of Fine Arts, Houston. He was awarded an Honorary Award at the 5th World Ceramic Biennale Korea 2009, and was recently awarded the Jurors Prize at the Taiwan Ceramics Biennale 2012. His research area is focused on ceramics in the widest sense engaging with material, process and the social contexts in which ceramics operate. The familiarity of ceramic material and object take centre stage within his research, where both the handmade and readymade are employed within both installation and conceptual applications. Andrew’s work operates within the expanded field of ceramics and investigates the employment of and interface between digital media, film, animation, photography and non-ceramic intervention.

Andrew has published 3 books including ‘Parallax View’ 2011, published several articles and has delivered many published conference papers in the UK, Ireland, Europe, USA, China, Korea and Australia.

Dr. Margareth Troli

Margareth is based at the National Glass Centre (UK) in Sunderland where she explores the integration of digital technologies in her artwork. She completed a Phd in 2011 with the support from the Art and Humanities Research Council (AHRC). She developed technical approaches for the Studio Glass through the investigation of waterjet cutting. Troli’s research has also been presented at international conferences.

The integration of digital technologies has transformed her working methodology as well the visual language of the artworks by combining traditional glass making processes with new technologies. Her practice can be placed within the overlapping realms of applied art, design and craft.

Troli has received numerous prizes, awards and scholarships for her artwork. She has participated in several international exhibitions and design fairs such as the British Glass Biennale (UK,) 100% Design, (UK), SOFA New York, Designers Block, (UK), Coburger Glass Prize Exhibition, (DE), Design Mart (UK) and The British Parliament

Margareth’s artwork can be found in the collections of the Broadfield House Glass Museum (UK), which holds one of the largest collections of Glass Art in the UK, and the Ernsting Stiftung Glass Museum (DE).

Margareth has recently won a commission to create lighting sculptures for a cultural centre in Norway which is due to open in 2014.


Tim Tate

Tim Tate is a Washington, DC native, and has been working with glass as a sculptural medium for the past 25 years. Co-Founder of the Washington Glass School, Tim’s work is in the permanent collections of a number of museums, including the Smithsonian’s American Art Museum, Renwick Gallery and the Mint Museum. He was awarded the title of “Rising Star of the 21st Century” from the Museum of American Glass and was also the recipient of the 2009 Virginia Groot Foundation award for sculpture. His work has been shown at the Milwaukee Art Museum, the Fuller Museum, the Asheville Art Museum and the Museum of Arts and Design in New York. He is a 2012 Fulbright Scholar recipient at Sunderland University in England.

Syl Mathis

Self-taught as a glass carver, Syl Mathis has been an artist at the Washington Glass School from its first “glass and steel” workshop. Syl combines investment casting techniques, high pressure abrasive carving, and cold-working techniques to create sculptural pieces in glass that often reflect stylized natural artifacts.

His imaginative and skillful use of design–designs which are combinations of man-made and natural forces–not only reflects a love of Nature which invites meditation and thoughtfulness, but also, eloquently highlights the beauty of Nature’s own patterns with a precision that transcends the mere manipulation of tools or careful, mechanical dexterity.

As a professional educator, Syl Mathis is a firm believer in process, the process of creative expression and of learning; as such, each carving is both a piece of art and the first step in a journey that promises to deepen our perception of Nature.

Sean Hennessey

Sean Hennessey is a mixed and multi media artists based in Washington, DC.  Working in glass, concrete, steel, light and video, Sean creates imaginative  wall relief works inspired by architectural sculpture and drawing narrative content from philosophical, mythological, historical and personal interpretations. Sean has received fellowships with the city of the District of  Columbia, an award of Craft Excellence from the James Renwick Alliance, and is in the collection of the US State Department Art in Embassies Program. His work has been seen on the Discovery Channel, National Geographic, HGTV, The Kennedy Center and at Aqua Art Miami. Sean is currently a Resident Artist at the Washington Glass School.

Nancy Donnelly

Nancy Donnelly is a studio artist at the Washington Glass School. She makes 2- and 3-dimensional art glass using color and imagery drawn from her painter’s training. Her work can be seen at Foundry Gallery and elsewhere in the Washington area.

Michael Janis

Michael Janis developed a focus on kiln-glass after working for twenty years as an architect in the United States and Australia. Now Co-director of the Washington Glass School, Michael has taught at the Penland School of Crafts, California’s Bay Area Glass Institute, and The Glass Furnace (Istanbul, Turkey). His work has been shown at major galleries and art fairs and is included in the permanent collection of the Art Institute of Chicago. In 2011, Michael mounted a solo exhibition at the Fuller Craft Museum (Massachusetts). His work was featured in Corning Museum of Glass publication ‘New Glass Review’, and he was named a “Rising Star” by the Creative Glass Center of America. In 2012, awarded a Fulbright Scholarship, Michael went to the UK’s University of Sunderland and National Glass Centre. He was an Artist-in-Residence at the Institute for International Glass Research (IIRG).