GLASS 2015 Gallery TEN
GLASS 2015 Gallery TEN
Published on the occasion of the first Gallery TEN annual Glass Exhibition in 2015
Copyright c 2015 Gallery TEN, Edinburgh First Published in 2015 by Gallery TEN www.galleryten.co.uk Designed by Paul Musgrove Created in Adobe - In Design Printed by DTP Edinburgh Paper - ARCO - Print Set in Arial and Gill Sans Photographic copyright remains with the artists or gallery unless otherwise stated Pages - 17,35,37,47,57,59,61 Photo credit to Ester Segarra Front/Rear cover image by Chantal Delporte Inside front cover by Heike Brachlow Inside rear cover by Keiko Mukaide
pages 5 - 6
pages 7 - 8
Artists A to Z
pages 10 - 67
pages 69 - 71
Elliot Walker - Photo by Ester Segarra
Something has happened to glass. In the manner of an aunt turned fire-eater, uncle turned riverboat gambler, it has become dangerously attractive. Well mannered and discreet has become unruly and pugnacious and seductively brazen. It can even move, too, like Keiko Mukaide’s fragile leaves sprouting from sinister amber shoots of scorched literature. Are we referencing Hiroshima? A puzzle throbs troublingly in the air, like an unmarked aircraft. Will destruction overwhelm civility, or can we rely on goodness shouldering through? Ms Mukaide will make you leave Gallery TEN in two minds. Unless you have spent more than ten seconds studying Alan Horsley’s extraordinary dismembered torsos, reminiscent of Goya’s Spanish war sketches. This is despair stripped naked and scoured with salt. A table piece for a banker, perhaps? Cooler alarm is trafficked by Alex Pearce; the combination of crude wrought iron shrapnel? spearhead? embedded in the sleek outline of clear blown glass is pregnant with metaphors; the spectator steps back involuntarily. Katya Filmus’ cast panels unsettle in the same way: are these tablets from some necromancer’s cookbook? The reversed copperplate, off-kilter irruptions and scarlet toenails suggest someone is up to no good. 5
Time to take a step back and enjoy Karen Akester’s cast figures, a cheeky delight and a reminder of the vast array of techniques that glass practitioners have at their disposal these days. Yoshiko Okada’s faces are more elegantly philosophical and certainly more somnolent, but their sub-aquatic dreaminess is soothing; we are not too distressed if, as Ms Okada seems to suggest, they have just fallen overboard from a banker’s yacht. If he or she is lucky, they might catch a glimpse on the way down of one of Graham Muir’s shimmering, sultry, vessels, half-giant shrimp, half distressed Chinese junk. Laura Birdsall’s blown vases offer a more formal void, but the serrated rim and ribbed flanks demand to be stroked; these are among the most sensual objects in the show, along with Layne Rowe’s dizzying knitted vortexes which suck you in rather than ask you to consult your soul. Cathryn Shilling, another from the London Glassblowing team, takes glass knitting a stage further with her breath-taking kiln technique. Can a glass skirt be far behind? If that thought makes you uncomfortable, brace yourself for Chantal Delporte’s haunting ectoplasmic structures. They may remind you of something too long in your fridge; they also flaunt, in their eerie animalism, the inner anarchy that can drive sober aunts and uncles off the rails. Erlend Clouston Creative Director Dynamite Club Art Collective
INTRODUCTION My involvement with glass as a material began nearly 40 years ago. I have been student, practitioner/maker, studio operator, educator, buyer, and now as a gallery owner, seller of glass works. During that time I have had the greatest pleasure to meet and work with some amazing people and to be continually enthralled by the material, glass. As a young student it was blown glass that I was struck by and the close intimate relationship with the material that was possible. To this day the ability to manipulate molten glass with the hand is still a fascination to me. I can think of no greater satisfaction than to take such a raw, visceral material, which by its nature, does not want to be tamed and turn it into a beautifully formed decorative object. Historically glass has held an element of mystery to those not involved in its manufacture and that sense of â€œmagic and wizardryâ€? still remains for many of those outside the practitionerâ€™s inner circle. Over the past few decades glass has matured as a material for artistic output far beyond anything I could have ever imagined when a student and has moved technically to become an ever more inspiring material. For me though it is still the hand formed that is the most extraordinary. For this inaugural exhibition for Gallery TEN I have put together a show of some 30 artists who I have had dealings with, stumbled upon or seen at events and shows over the last few years and it will be exciting to see how all their respective glass works come together in the show. Amongst the furnace workers are old friends Graham Muir and at Lindean Mill David and Annica who continue to make beautiful work, Liam Reeves and Laura Birdsall are producing stunning blown work and at London Glassblowing Peter Layton and his team continue to produce an array of exciting, quality works. 7
It is interesting to see that cast and kiln workers are beginning to outnumber those of us who work with the material direct from the furnace and practitioners such as Keiko Mukaide, Yoshiko Okada and Karen Akester continue to push glass materials in previously unseen ways. From Belgium Chantal Delporte and Pia Raeymaeker and Lene Tangen from Norway are also making incredible cast works and I am delighted to be bringing them to Edinburgh. There are a number of emerging artists who I am very happy to have found and given opportunities to, Alan Horsley whose cast work is I believe amongst the best there is at this time; Harry Morgan who interestingly combines glass with concrete and Robin Crawford with his delicate pate de verre constructions. All are recent graduates of Edinburgh College of Art and have a great future with the material. The show has been nearly a year in the making and I for one am excited to see what all the makers have produced. I am sure the works will inspire viewers to look at glass in a new light in the future and offer an opportunity for buyers to add interesting and previously unseen works to their growing collections. I hope you enjoy the exhibition as much as I have enjoyed making it happen. Paul Musgrove Director Gallery TEN
Casting detail from Lene Tangen
KAREN AKESTER Karen Akester graduated with a Master of Design in Glass from Edinburgh College of Art in 2002 and since then has continued to practise as an artist, exhibiting work throughout the UK and Europe. Examples of which can be found in the Dan Klein & Alan J Poole (Private collection) @ The National Museum of Scotland, Edinburgh; North Lands Creative Glass, Lybster UK; and Wheaton Arts at the Creative Glass Center of America in Millville New Jersey USA. Selected exhibitions include The Glass Biennale, Stourbridge; Coburger Glass Pries, Germany; Collect and SOFA Chicago (Bullseye Gallery); Contemporary Applied Arts, London; Bonhams, London; and Philadelphia Museum of Art Craft show (Craft Scotland).
Karen Akester the unbeliever cast glass and mixed media 10
LAURA BIRDSALL I make uniquely beautiful blown glass vessels, with strong sculptural qualities. My inspiration comes from the minute and intricate details of the natural world, especially seeds and insect forms. As a maker I experience the hot material as soft and luminous and I try to preserve these qualities in the finished work. Another important theme for me is the relationship between the interior and exterior of the vessel and decoration that is integral to the form. This is exemplified in the Cocoon Bowls by the continuous hand sculpted line and the creation of a soft, satin exterior, which is beautifully tactile.
Laura Birdsall cocoon bowls blue.copper.peach blown glass 12
The unexpected. The slightly odd, the surreal, the uncanny. Precariousness. Stability. Equilibrium. Imbalance. Things that are not what they seem. Movement. Transformation. Questioning rules. Puzzles. Building blocks. There but not there. Fragile. Solid. Ambiguous. The potential for chaos.
Heike Brachlow synthesis XXII cast glass 14
EDMOND BYRNE I’m interested in how our minds interpret emotions, a combination of culture and memory which converge from different areas of the mind. Through the exploration of colour, texture and form, I make glass vessels which induce an emotional response in each viewer. In a way the vessels are manifestations of emotions. I do a lot of drawing. My visual inspiration comes through interpreting the marks, gestures and energy of my drawings into glass. I’m intrigued by objects that have a resonance from the past. I add patina and cracks to the glass surface to recreate the weathering of ancient Roman glass. Subconsciously this places my vessels in the past becoming artefacts of the mind. In the ‘Emotional Series’ I stack vessels inside each other to combine different qualities of glass. They represent the five primal emotions: fear, happiness, sadness, anger and disgust. Emotions come from multiple parts of the mind and in my work this is represented by the combinations of vessels and surfaces and the illusive spaces in between. 16
Edmond Byrne emotion landscape 3 blown & patinated glass
Natural Geometry series is inspired by mathematical patterns occurring in nature. This series is inspired by rhododendron flowers which have five petal heads bunching together creating a striking visual pattern. The technique I’ve used is called ‘pate-de-verre’ (meaning paste of glass). Natural Geometry series uses a process of digital representation in the form of 3D printing to achieve the pentagonal form of each segment of these sculptures. It is my intention to give the onlooker the impression of an x-ray, or cross sectional vantage point of the internal structure of the rhododendron flower.
Robin Crawford blood vessels pate de verre 18
CHANTAL DELPORTE Nature and more particular the tree is the conductive line of my approach. Through timeless questions based on memory, during, or fragility, it gives me the opportunity to realize a parallelism between tree and human. By observing the influence of time, by the use of twigs, I reinvent a world oscillating between rigidity and movement, between geometry and sinuosity. This duality is also found in the play between the external appearance and inner life. I teach at the Art Academy in the south of Brussels (Braine lâ€™Alleud)) where Iâ€˜ve developed a new glass course.
Chantal Delporte cylindre 1-2011 cristal 20
KATYA IZABEL FILMUS Katsya’s work investigates themes such as memory, identity and the correlation between the two. Some of the pieces are inspired by autobiographical memories, some seek to activate the viewer’s memory, and some rely on the ability of the medium to carry and preserve memory. These works reflect on the part all memories play in the construction of national and personal identity. A major part of Katya’s work involves and is inspired by the body whether it’s by the process of making art and the encounter in the material world, or by the use of the body as an image or as a container to signify the pivotal role our body plays as an interface with the world.
Katya Izabel Filmus reminiscence ten cast glass panels 22
STEPHEN FOSTER Glass is the only material made by man that can compete with natureâ€™s beauty, it can visually mimic any substance and the possibilities are infinite. All my work explores and exploits the inherent qualities of glass. Trying to draw the on-lookers into my glass to examine the changing shifts of perception that occurs as they move around the work. Light dancing across its surface and through its inner world where secrets are revealed.
Stephen Foster (detail) glass and mixed media 24
CHARLOTTE HODES Charlotte’s practice is informed by her experience as a painter and is investigated through large scale handcut papercuts as well as ornately decorated ceramic vessels and glass. In 2007 she was commissioned to make the Arts and Business Awards at the Berengo Glass Studios in Venice and this resulted in an ongoing relationship with the studio where she has made glass work for the exhibitions ‘Glasstress’ for the International Venice Biennales in 2009 & 2013. Charlotte won the Jerwood Drawing Prize in 2006 and was appointed Professor in Fine Art at London College of Fashion, University of the Arts, London in 2012.
Charlotte Hodes silhouette hand formed glass panel 26
ALAN HORSLEY Creating dynamic colour and texture from metals bound within the body of each casting, Alan probes the incredible range of glass to impart unique character to sculptures inspired by the complex interactions between the fabric of the body and the conscious experience within it. The figure stands at the core of Alan’s practice as – like glass itself – it becomes a site of activity and a space in constant flux, offering a timeless and poignant vehicle for narrating mechanics and experiences of the body.
Alan Horsley beute 02 cast glass figure 28
INGRID HUNTER My interest in glass is kiln formed glass, especially core casting and pate-de-verre. My influences and inspirations come from the art nouveau period, Lalique, FranĂ§ois DĂŠcorchemont, flora and fauna.
Ingrid Hunter scent bottles cast glass with ceramic base 30
DAVID KAPLAN & ANNICA SANDSTROM David Kaplan studied glass at Edinburgh College of Art and at Orrefors Glass School, Sweden. Annica SandstrĂśm studied glass and ceramic at Konstfack, Stockholm, Sweden. Established in 1978, they are pioneers of the studio glass movement in Scotland. The glassmaking is divided between functional tableware, unique glass vessels and fused glass panels. Their Scandinavian training and workshop experience is reflected in the glassmaking and the surrounding landscapesâ€™ lochs and rivers, inspires an intuitive response to form and colour. Their work is represented in many public collections, including V&A Museum, London; National Museum of Scotland, Edinburgh and Kelvingrove Museum and Art Gallery, Glasgow. David Kaplan & Annica Sandstrom pool blown & kiln formed 32
PETER LAYTON Since its inception 40 years ago, Peter Layton has always run London Glassblowing as a creative collective space, encouraging his team to borrow, share and develop ideas in the pursuit of achieving excellence in the use of this extraordinary medium. Visitors to his studio have often drawn parallels between the work and techniques on display with that of Murano; the small Italian island and home of Venetian glassmaking. It was decided that it was time to pay homage to the centuries of extraordinary history, skill and creativity of the Muranese glassmakers, in an exhibition entitled VETRO: Exploring the Venetian Influence. Far from wishing to copy, the aim was to invent new ways to convey the Italian idiom. Peter set himself the challenge of creating new designs that embodied aspects of the famous Italian Style. ‘I enjoy working to a theme and this provided enormous inspiration. It involved developing extremely labour intensive and time consuming colour preparation techniques to create the complex patterns and graphic effects that I sought to achieve.’ Near Murano lies the island of Burano, known for its traditional skills in lacemaking. Peter’s series Burano, plays on both traditional Venetian filigree work and Moire patterning, to create the lace net effect that enfolds the bubble of deep red at the centre of the vessel. Peter Layton red burano sailform blown glass 34
BRUCE MARKS A long time admirer of the sculptor Brancusi and his ability to capture the essence of his chosen subject with minimal details, these pieces are stripped down to the essence yet retain a definite bird like quality, a theme which I strive to continue in my forthcoming body of work.
Bruce Marks birds blown glass 36
HARRY MORGAN Harry Morgan’s studio practice explores the mutability of materials and the juxtaposition in their combinations. He is interested in the differing states of materiality and his ‘Shapeless’ project has evolved around the curious behaviour of glass, a material which has no distinct point of transition between the solid and liquid state. It can therefore be considered to be both solid and liquid at the same time. The title refers to glass metaphorically as matter that exists in flux between two states.
Harry Morgan concrete & glass 38
GRAHAM MUIR I find glass to be a material that does not respond well to being dominated by the artist. For me the concept of the work is just the starting point for a conversation between the artistâ€™s idea and the material. The artist flags up the idea, the medium responds and the discussion begins. However the material must not dominate proceedings either and hot glass, as most who work in it know, can be very persuasive in having its own way. This is where technical skill plays its part. I have discovered in my efforts to instil these qualities into my work that my ideas have moved far from the traditional glassmaking I was taught at Art College. I have been required to develop new techniques and resurrect and adapt some old ones to move on from the inevitable constraints on form that glassblowing produces. Technically and creatively I no longer feel shackled by blowing the glass. However, whether it be the tight control of form and colour required in my sculptural â€˜perfume bottlesâ€™, or the physical strength required to manipulate my large irregular wave forms, I feel at this moment I am being pushed close to the limits of my technique.
Graham Muir teal sea - oceanvessel blown & kiln formed
KEIKO MUKAIDE In recent years, Mukaide’s works often reflects her Japanese roots, respect to nature and truth to the material always in her creating process. ‘Dawn’ is a further development from her dichroic glass panel series, she tried to create an extra depth in it. The inspiration from oriental landscape, the layer of clouds or mountain-like forms often can be seen in traditional Japanese and Chinese painting. New developments are scorched recycled books corroborated with Mark Powell that have been shown at ‘React-Reflect-Respond’ exhibition in Perth Museum & Art Gallery in early this year. The scorching process gave the wood grain texture to the books, it suggests the origin of books and the regeneration. The elements of glass and metal are symbols of hope.
Keiko Mukaide log with orange bud paper & glass 42
PAUL MUSGROVE There is no question that archaeological sites and artefacts have and can be used as a source of inspiration to create art. Archaeology has I believe always had an intimate relationship with art, it has played its part in periods of artistic endeavour, most recently the early 20th century modern movement, in which it was used repeatedly to form complex artistic responses. In making the glass â€œmenhirsâ€? I am not trying to copy their appearance rather to try and evoke some aspect of their presence for the viewer. The addition of light to what is normally an opaque structure is a quality that only glass could lend to the work. The outer mark making is an attempt to add a human element to the sculptural qualities of the stone forms.
Paul Musgrove menhirs iv hand formed glass & stone 44
LAURA McKINLEY My fascination for glass as a creative medium stems from its capacity to constantly alter my initial thoughts and expectations. The spontaneity of the hot material demands instant visual judgments that give rise to shifts in ideas. These allow me to make tangible my explorations of volume, scale and the random interplay of forms. Serendipity and the unexpected often point the way to the next starting point for making. An element of inspiration for me is the Italian technique, Incalmo, the joining together, whilst still hot, of two separately blown glass bubbles to form one piece. When cold, the fluidity of these objects is interrupted by cutting to expose voids which enable the viewer to see both the internal and exterior spaces. The varying thickness of glass and polished angled surfaces create ever-changing effects of light and shadow, a characteristic that is exploited to create an environment of illusion. My work is an invitation to engage with the tranquil beauty of the incidental. 46
Laura Mckinley symbiosis blue blown & cut glass
KATSUYA OHGITA Katsuya Ohgita was born in Kawachi Nagano City, Osaka. His glass forms create an image reminiscent of light trapped within ice. His works take the form of homes that are filled with warmth, creating a feeling of nostalgic longing in the viewer. After the works are removed from their moulds, the powdered gypsum that remains on the surface results in the glass transmitting a soft light.
Katsuya Ohgita houses cast glass 48
YOSHIKO OKADA My work continues to explore a Japanese background and experiences, and my current English and European situation. It explores the synergy and paradoxes these different influences create when patched together into an identity, lifestyle and consciousness. I have been working with kiln cast glass concentrating on forms of simplicity. My work explores themes of memory, identity, time and the human condition. Although seemingly complicated this often leads me to simple forms of expression or symbolism.
Yoshiko Okada sea music cast glass 50
ALEX PEARCE The intent of my work is to consolidate two opposing materials into one individual piece. Each part is crafted separately in a way that highlights its individual characteristics. Glass with its fragility, yet smooth and perfect finish; metal, with visible hammer marks and black sheen generated by the coals of the fire. Combined hot, they capture a moment frozen in time.
Alex Pearce theta blown glass & wrought iron 52
PIA RAEYMAEKER This series of sculptures is inspired by estrangement, caused by the power of memory and a brusque environment change. The inhabitant is unable to comprehend the consecutive, rapid changes. A gap arises between the inner and the outer world. The work illustrates the role and position of individuals in urban space. Their spatial relations, proximity and distance, are expressed through light and shadow. The inspiration was drawn from the surrounding I found myself in for several years and has been of significant importance for my creative language. By making this series I donâ€™t strive to imitate a known life form but to create sculptures which are self-contained stories.
Pia Raeymaeker work 1 cast glass 54
LIAM REEVES Working exclusively with blown glass, my interest is in the contemporary translation of techniques from an historic tradition. The work is an ongoing investigation into the relationship between surface and form. I use the liquid dynamics of the molten glass to produce organic, free-flowing shapes and then apply decorative techniques to describe their three-dimensional nature. This results in forms and patterns evoking the spiral geometry of the Golden Ratio and Fibonacci Series - mathematical sequences found throughout nature, from the growth of leaves and seed heads in plant life to human DNA itself. I believe that geometric pattern and mathematics can provide interesting connections between the actual and virtual worlds.
Liam Reeves blown form 56
LAYNE ROWE The Woven series, inspired by the Devon coast line and my love for detail is a result of intricate over layering of different coloured canes around a form that is twisted and, when cold, cut to reveal vibrant colours beneath the surface. The effect is of water over precious stones with glimmering colours beneath reflecting natural growth and corrosion. I would describe the work with the words, ‘complex’, ‘dedication’, ‘determination’ and ‘perfectionism’ . It is clear that my work with glass is a beautiful battle between ideas and execution and only until these two marry to his high standards of craftsmanship is my work deemed suitable for public scrutiny.
Layne Rowe woven basket (3tone) blown glass 58
CATHRYN SHILLING Cathryn Shillingâ€™s years in graphic design allowed her to develop skills in a wide range of creative processes and products, and enabled a natural and spontaneous move into glass. For her, kiln formed glass has proved to be the perfect medium, allowing for creative and technical freedom and enabling her to produce works that are tactile, intriguing and enduring. Cathryn is best known for her trademark glass cloth pieces which utilise the Venetian glass cane techniques. The canes are made by drawing molten glass into fine threads of no more than one or two millimetres. Cathryn uses a painstaking process to bring these together, strand upon strand, and then fuses them in the kiln until they resemble sheets of woven fabric. These are then re-fired and shaped while hot by moulding, bending or draping, to become threedimensional artworks ranging from free-standing sculptures to wall pieces. The vibrant surfaces of these pieces move and shimmer, exploiting texture, light and colour in surprising ways and evoking a sense of movement within the object as if the glass fabric were gently blowing against a human form. 60
Cathryn Shilling hidden gestures blue kiln formed glass
LENE TANGEN The Arctic environment is the main inspiration behind my sculptural work. I try to capture the fleeting qualities and expressions in the transformation from liquid to frozen form. The optical qualities of glass give me space to highlight contrasts, the key elements of my work. The inner forms are often shaped to illustrate organic movement, frozen in time and space. My work is often experimental and I freely combine glass with other materials such as plaster, stone and metal. I hope to spark the imagination of the viewer and create the ideal flow of associations, encouraging the viewer to interact with my objects. Even though the final piece ends my journey, I hope it will continue for the viewer. Lene Tangen unique frozen darkness cast glass 62
PHIL VICKERY Within my sculptures, the colours and forms represent various emotional states of the mind and the subconscious. From the minute to the monumental these sculptures reflect the inner workings of the conscious, subconscious, and the flowing energy that can be considered thought. If information is power, then why can’t thought be considered pure energy? I strive to visualize this idea with my own form of symbolism and representation in particular my ‘Thoughts’ and ‘Dreams’ sculptures are driven by this starting point. I have perfected a technique where an internal membrane of glass is twisted along the length of the piece in a fluid manner. The technique creates an effect in the structure that is reminiscent of a double helix; the very building block of life itself. From this observation I developed my Helix sculptures to represent nature, life, energy, and movement; emulating this idea in form and content. Sometimes the work is just a driven sculptural form using this idea to make an abstract. Working with the fluidity of the glass in a molten state to manipulate it into mold, and to work with natural gravitational force to create my signature spiral.
Phil Vickery glass vortex photo - jo howell
ELLIOT WALKER Elliot was trained as a glassblower in the historic Glass Quarter of Stourbridge. He is one of a select group of glassmakers who specialise in hot glass sculpture. The technique of sculpting molten glass requires dexterity, speed and precise temperature control and is a rare and dynamic process to witness.
Elliot Walker glass figurine photo - S.Bruntnell 66
Cathryn Shilling - Wear & Tear Black - Photo by Ester Segarra
Karen Akester Laura Birdsall firstname.lastname@example.org email@example.com www.karenakester.com www.laurabirdsall.com Heike Brachlow Edmond Byrne firstname.lastname@example.org email@example.com www.heikebrachlow.com www.edmondbyrne.com Robin Crawford Chantal Delporte firstname.lastname@example.org email@example.com www.robincrawfordstudio.com www.chantaldelporte.net Katya Izabel Filmus Stephen Foster firstname.lastname@example.org email@example.com http://katyafilmus.com/ http://stephenfosterglass.com Charlotte Hodes Alan Horsley firstname.lastname@example.org email@example.com www.charlottehodes.com https://alanhorsley.wordpress.com 69
Ingrid Hunter Peter Layton firstname.lastname@example.org email@example.com www.ingridhunter.com www.londonglassblowing.co.uk Lindean Mill Glass Bruce Marks firstname.lastname@example.org email@example.com www.lindeanmillglass.co.uk www.brucemarksglass.com Harry Morgan Graham Muir firstname.lastname@example.org email@example.com www.harrymorgan.info www.grahammuir.co.uk Keiko Mukaide Paul Musgrove firstname.lastname@example.org email@example.com www.keikomukaide.com www.musworks.co.uk Laura McKinley Katsuya Ohgita firstname.lastname@example.org email@example.com www.shop.londonglassblowing.co.uk http://ohgita.com Yoshiko Okada Alex Pearce firstname.lastname@example.org email@example.com www.yoshikookada.co.uk www.facebook.com/DreamWork69 Pia Raeymaekers Liam Reeves firstname.lastname@example.org email@example.com www.piaraeymaekers.com www.liamreeves.com 70
Layne Rowe Cathryn Shilling firstname.lastname@example.org email@example.com www.layneroweglass.co.uk www.cathrynshilling.co.uk Lene Tangen Phil Vickery firstname.lastname@example.org email@example.com www.lenetangen.com www.philvickeryglass.co.uk Elliot Walker firstname.lastname@example.org www.ewalkerglassart.co.uk/
I would like to thank the following people for their continued support. Margaret Hyne who has for the last year always been on hand to help out in the gallery when needed. John Johnson, who is ever the tolerant landlord and keeps allowing me to do strange and bizarre things in his building. To all the artists who have agreed to take part in and support the making of this exhibition, thank you, it is your show in the end. I dedicate this catalogue to my partner Ann and my kids Woody and Elizabeth who continue (behind the scenes) to tolerate what is the â€œgallery madness!â€? And to you the visitor who I hope will enjoy the show, thanks for coming. 72
Dawn - glass panel by Keiko Mukaide
Gallery TEN 10 Stafford Street Edinburgh EH3 7AU www.galleryten.co.uk email@example.com