North Lands Creative at Collect 2022

Image Juli Bolaños -Dur man & St udio Walac “Lady Carrot ” from‘ The Is les of Recl aimed Wonderment’ serise 2021

www.northlandscreative.co.uk

A VIEW WITH A STUDIO When you star t thinking about what type of spaces glass ar tists work from you realise t h a t ve r y fe w o f t h e m w e re o r i g i n a l l y b u i l t a s c o n t e m p o ra r y f i t f o r p u r p o s e s t u d i o s .

Some places had been conver ted from a previous use (the space Nor th Lands Creative occupies is the old Victorian village school) to a place for production facilities. Practice has also changed and even these places could not be considered as places designed for contempo rar y ar t production.

Our ever yday world is a world of rooms. In those rooms is space and in that space lives life. One enters Nor th Lands Creative, past the large sliding red door of the hotshop, down an outdoor corridor of old stone and timber cladding a sor t of in-between space t h a t e n a b l e s yo u to ‘ t a ke i n’ t h e l a n d s c a p e o u t s i d e . I t ’s h a rd to t h i n k o f N o r t h L a n d s Creative without thinking about the significant and power ful sense of place. The taste of salt air, the smell of bogland. The studio activity spills on and out onto the village street, and shares views towards the Mor ven hills and horizontal skyscape at the rear.

T he studio co-exists between the flux of international glass ar t and the rich seams of Caithness culture, landscape and life. More than this, the studio is littered with traces by those who have visited, the evidence of their craft explicitly on show, of the tools, materials and moulds, ​​smaller trial-pieces of glass, fragments and samples of glass material, preparator y designs, ar tists’ books and drawings, the eternal acts of making a nd occupation on display.

Nor th Lands Creative has punched a power ful per formance over it’s 25 years histor y and with the International Year of Glass in 2022 the organisation plans are ambitious.

T h e s t ra t e g y o u t l i n e s a s e r i e s o f i n i t i a t i v e s t h a t w i l l c e m e n t N o r t h L a n d s C r e a t i v e international reputation as a centre for excellence in glass, endorsed by the Scottish Government and Creative Scotland, and other impor tant figures from the ar ts, business Images (Top) View over the village of Lybster, Caithness Highland showing the Nor th Lands Creative Studio by Ewan Stewar t Prickly Thistle Video (Lower) Laura Quinn,Nor th Lands Creative Ar tist in Resident 2021 & recipient of the Radcliffe Trust Scholarship Award

and political sectors.

Stretching worldwide, from China to Japan, United States to Australia and out across Europe, Nor th Lands Creative is known for its vibrant, distinctive, innovative and grow i n g o f fe r i n g f o r a r t i s t s . T h e s t ra t e g y a i m s to b u i l d u p o n t h i s by i d e n t i f y i n g a re a s o f untapped potential, in order to raise the profile of the medium of glass, to celebrate, showcase and preser ve excellence in craftsmanship and international reputation as a v i b ra n t c e n t re o f e xc e l l e n c e w h i c h l i n k s c o n t e m p o ra r y, t ra d i t i o n a l a n d ra re g l a s s making skills.

Karen Phillips, Director comments, ‘If we are going to create something amazing, we c a n o n l y d o i t c o l l e c t i ve l y. W h e t h e r l a rg e o r s m a l l , vo l u n t e e r - l e d o r f u n d e d , w e n e e d to work together. If we can imagine that future collectively, we work out the steps to get there. A strategic plan for the future of contemporar y glass represents a dynamic call to action by the glass sector to galvanise ar tists’ ambitions and determine Nor th L a n d s C re a t i ve f u t u re c o l l e c t i ve l y. A s t u d i o w i t h a r i c h h i s to r y o f i n t e r n a t i o n a l a r t s activity, we are all ver y much looking for ward to new oppor tunities to collaborate with our par tners to realise our collective vision.’

I t l ay s o u t a s e r i e s o f a m b i t i o u s p r i o r i t i e s i n c l u d i n g s e c u re d i n ve s t m e n t to d eve l o p the campus in Lybster with improved production facilities and accommodation, a new m a ke r s p a c e a n d c a fé . D i g i t a l o f fe r i n g o f 3 D p r i n t i n g a n d a n a u to m a t e d p h o to g ra p h y suite. To improve sustainability, organisational growth and resilience within the sector and the general challenges stemming from our climate emergency on how to optimise and identify solutions to reduce our impact on the environment and suppor t our journey towards achieving green credentials.

We believe our greatest achievements are our relationships, and we wanted to thank eve r yo n e f o r a q u a r t e r o f a c e n t u r y m a r ke d by m e a n i n g f u l e xc h a n g e a n d a m b i t i o u s cultural production. The legacy of ar t and creative pioneers runs deep at Nor th Lands, and this rich heritage grounds our work and guides our priorities for future growth.

Our purpose to suppor t the studio ar t ecosystem still burns brightly. We have made an investment in connections and collaborations in the local community, with the intention to ‘make the invisible visible’ and provide the ‘possibility and the conditions for things to happen’. We will char t a path towards helping ar tists flourish in their craft and aim to be as agile as we can to allow us to ser ve our communities of interest better. And hopefully, meet m ore of you in the real world as we go.

Continuing to acknowledge how ar tists and their work connect to their surroundings, landscape, architecture, histor y and social context, we are creating an oppor tunity for s i t e s p e c i f i c c o m m i s s i o n s w i t h i n t h e n e w c a p i t a l d eve l o p m e n t s . We h ave a l s o m a d e plans to prioritise ar tist career oppor tunities with more internships, scholarships and residencies.

Nor th Lands Creative has been a place for social life as a form of work, of contemplat i o n a s a m o d e o f s p i r i t u a l a c t i o n , o f a r t i s t i c p ro d u c t i o n a s a f o r m o f k n o w l e d g e , o f gossip and scheming and drawing and writing and making and cursing nature and the inclement weather.

What is cer tain, as the glass community adapts and recovers from the last two years, Nor th Lands Creative is a unique studio which embodies the conditions and possibilities for glass ar tists to be suppor ted on their new adventures and beginnings. written by Karen Phillips, Director at Nor th Lands Creative

Images (Top) Shaun Fraser Nor th Lands Creative Ar tist in Resident 2021. (Middle) The Nor th Lands Creative Alastair Pilkington Studio (Lower) Gregor y Alliss Nor th Lands Creative Ar tist in Resident 2021. Credit Ewan Stewar t Prickly Thistle Video

NORTH LANDS CREATIVE AT COLLECT 2022 If Nor th Lands Creative’s mission is being an international centre dedicated to the study and development of glass as an ar t form, it has arguably achieved that and more over the past twenty-five years. Nor th Lands has always represented the ultimate expression of glass as a n a r t f o r m a n d v i a i t s l o c a t i o n o n S c o t l a n d ’s n o r t h - e a s t e r n c o a s t i t h a s e n c o m p a s s e d t h e meeting of Europeans with all other continents of the world in the ar tists who have passed through its doors. This geographical melting pot both tangible and intangible has led to the creation of arguably the finest culmination of the glass ar t form. Therefore, the presentation

by N o r t h L a n d s C re a t i ve f o r C O L L E CT 2 0 2 2 i s h i g h l y a m b i t i o u s , s e e i n g a s i t e n c o m p a s s e s t h e w o r k o f t w e n t y - e i g h t re m a r k a b l e a r t i s t s . T h e l eve l o f a c c o m p l i s h m e n t – a e s t h e t i c a n d technical in these works is truly inspiring, all of which in some way respond to world events – par ticularly those of the social, political and natural, leaving the onlooker with much reflection and indeed awe at the intellectual ingenuity and manual dexterity displayed throughout. It is impossible to highlight all in an essay of this size, but I will cer tainly focus on several whose work attempts to push the boundaries in both the literal and seminal sense.

Iranian ar tist Elmira Abolhasani is represented by the sculptural work ‘The Silence hands III’. It is a researchbased project around the actions of people who exist in our ever yday lives, b u t a re u s u a l l y i n v i s i b l e to u s . I t i s a reflection on refugee workers who have par ticipated in building countries, but h ave n eve r h a d a f a i r s h a re i n s o c i e t y – ‘ t h ey a re c o n s t a n t l y f o rc e d to m ove from one countr y to another to have a basic life’. Abolhasani’s work is deeply embedded in this sense of the humani tarian and reflective – she is interested in how to better understand how human networks and identities are formed and the underlying structure of both.

‘It keeps eternal whisperings around Desolate shores, and with its mighty swell ….When last the winds of heaven were unbound’ Images (Top) Jahday Ford, Bermuda / UK ,”Axle” Serise, Image Simon Bruntnell (Middle) Te Rongo Kirkwood, New Zealand Maori “Nga Tuaitara o Taikehu Series” Photography: David Shields | Howard Williams (Lower) MoonJu Suh, South Korean “Ttulle” from “Happiness Diar y ” serise 2021

The overall effect, although based on a sculptural premise is ver y painterly and as she herself describes is the ‘taste of a d re a m’ – a l i n g e r i n g o f b e a u t y w i t h its own moral imperative being implied.

John Keats from “On the Sea”

Another artist who does not shy away from social c o m m e n t a r y w i t h s t ro n g p o l i t i c a l b i t e i s S o u t h Ko re a n a r t i s t M o o n j u S u h . A n i l l u s t ra to r a n d g l a s s a r t i s t n o w based in Edinburgh, Moonju Suh’s work combines playfulness with contrasting emotional states through the use of a kitschy aesthetic inspired by Kidult-culture (adults playing with and collecting toys). She is one of the most e x c i t i n g a r t i s t s i n g l a s s t o e m e r g e o v e r t h e p a s t fe w ye a r s . T h e i n s t a l l a t i o n f o r C O L L E CT i s e n t i t l e d ‘ H a p p i ness Diar y ’ and consists of twenty dolls displayed as an ensemble. It is a tangible expression of not only Moonju Suh’s ar tistr y, but identity as an Asian woman living in a predominantly white European culture and environment, and the many series of aggressions she experiences in her day-to-day life. This gives her a sense of ownership in the personal by highlighting such an enormous blithe on society – the continuing non-acceptance perpetuated by some of anything or anyone from outside a perceived canon of ‘us’. She achieves this play fully yet forcefully, leaving the viewer with much to ponder.

This theme of societal reflection as seen in both Elmira A b o l h a s a n i a n d M o o n j u S u h’s w o r k i s a l s o e v i d e n t i n t h e c re a t i v i t y o f C h r i s to p h e r D ay. D ay ’s a r t p ra c t i c e i s rooted in the ‘seductive qualities of glass’ and its use to make work that comments on issues of race with narra tives, which range ‘from complex inquiries to unflinchi n g s o c i a l v i g n e t t e s ’ . D a y ’s w o r k i s d e e p l y e m b e d d e d i n t h e p e r s o n a l , w h e re by a s a n a r t i s t o f m i xe d ra c e h e o f fe r s s e l f - p o r t ra i t s t h a t ‘e x p l o re w h a t i t m e a n s to b e biracial in the UK’ by playing on stereotypes and genera l i s a t i o n s . T h e r e a r e u n d o u b t e d p a ra l l e l s h e r e t o t h e work of Moonju Suh, yet Christopher Day is highly influe n c e d by re c e n t w o r l d eve n t s s u c h a s t h e B l a c k L i ve s M a t t e r m ove m e n t , a n d i n d e e d t h e h i s to r i c a l l e a d i n g to t h e p re s e n t – n a m e l y, t h e s l a v e t ra d e o f t h e p re v i o u s centuries, par ticularly that of the 18th centur y, and the h o r re n d o u s t ra u m a , d i s p l a c e m e n t a n d o n g o i n g ra c i s m it heralded. True to form, Nor th Lands Creative is show casing two outstanding emerging ar tists in Day and Moonju Suh, both of whom exhibit the combined global and thought-provoking in their work.

A n o t h e r d o m i n a n t t h e m e i s t h a t o f t h e n a t u ra l w o r l d .

One ar tist who uses the lampworking technique to great e f fe c t i n h e r w o r k , b a s e d o n i n s p i ra t i o n f ro m t h e f l o ra and fauna of Ireland where she is from, is Katie Spiers.

Another emerging ar tist, Spiers has a strong sculptural background who recently turned to glass as a medium.

Her lampworking mirrors the use of line drawing by way of creating a sense of movement and even a veil of kinetic energy in three-dimensional form. According to Spiers, ‘ t h e f ra g i l i t y o f t h e s c u l p t u re s s p e a k to t h e p re s s u re s the modern world has exer ted on dwindling numbers

Elmira Abolhassani,

o f n a t i v e b i rd s i n I re l a n d ’ . T h e ov e ra l l a c h i e v e m e n t i s a l i g h t n e s s o f to u c h i n s c u l p t u ra l f o r m , w h i c h b e a r s a h e av y m e s s a g e to h u m a n k i n d i n t h e a b s o l u t e n e e d f o r us all to safeguard, preser ve and protect the planet and its species. Likewise, the environment also features s t r o n g l y i n t h e w o r k o f S c o t t i s h a r t i s t S h a u n Fra s e r.

A s s t a t e d b y Fra s e r, t h e S c o t t i s h H i g h l a n d l a n d s c a p e in which he was raised always features in his notion of self, and there exists ‘a cer tain sense of fidelity which I a t t a c h to t h i s to p o g ra p h y w h i c h i s e l e m e n t a l ’ . E n t i t l e d M ò i n e I - V I I , h i s i n s t a l l a t i o n f o r C O L L E CT i n c o r p o ra t e s peat giving an innate link to the landscape. Such resonances of the elemental of one’s immediate environment and indeed culture i s also apparent in the work of New Zealand ar tist Te Rongo Kirkwood. Te Ronga Kirkwood is a mixed media ar tist who specialises in kiln-formed, cold-worked glass, and her pieces draw on her Scottish, E n g l i s h a n d M a o r i h e r i t a g e . K i r k w o o d i n c o r p o ra t e s a Maori worldview, ‘influenced by the Maori belief system that anchors tupuna (ancestors), whakapapa (existential l i n k s b e t w e e n a l l t h i n g s ) a n d t h e re l a t i o n s h i p b e t w e e n the past, present and future’. Her work for COLLECT is t h e K a k a h u G l a s s C l o a k , w h i c h i s t r u e t o h e r c u l t u ra l h e r i t a g e a n d t h e i n h e re n t c ra f t s m a n s h i p e m b e d d e d i n each wearable item now and in the past – the irony being that the wearable so coveted by European ‘collectors’ of the 18th and 19th centuries is still coveted by the same d e m o g ra p h i c . K i r k w o o d i s d e e p l y a w a re o f t h i s l a t e n t i r o n y, b u t i n h e r e n d u r i n g w o r k s i m b u e d w i t h s p e c i a l

Iranian/ Por tuguese “The Silence Hands III” 2021

meaning she is connecting ‘people and places through

highly intellectual yet accessible conversazione in their

a u n i q u e c o m b i n a t i o n o f c o n t e m p o ra r y i n t e r p re t a t i o n s

intriguing amalgamation of familiar three-dimensionality

o f N e w Ze a l a n d ’s a r t i s t i c a n d c u l t u ra l h e r i t a g e’ , w h i l e

and the poetics of space in their placement.

simultaneously rising way above the interplay and treatm e n t o f s u c h t a n g i b l e h e r i t a g e a s m e re c o m m o d i t i e s .

This essay is but a fleeting overview of only some of

T h e l a t t e r h av i n g b e e n e xe m p l i f i e d t h ro u g h n u m e ro u s

the ar tists represented by Nor th Lands Creative at

museums’ past acquisition histories.

C O L L E CT 2 0 2 2 . T h e p a s t t w e n t y - f i v e y e a r s h av e s e e n e xc e p t i o n a l a c h i eve m e n t f ro m t h e i n t e r n a t i o n a l c e n t re

A n o t h e r a r t i s t f o c u s i n g o n t h e i n t e r p l ay o f t ra d i t i o n a l

of excellence in glass making established by Rober t

‘objects’ as standalone or sculpt ural installation is Juli

M a c l e n n a n , D a n K l e i n a n d Ke i t h C u m m i n g s i n 1 9 9 6 , to

B o l a ñ o s - D u r m a n . O r i g i n a l l y f ro m C o s t a R i c a a n d n o w

i t s o n g o i n g c o l l a b o ra t i o n w i t h a r t i s t s i n g l a s s a n d a l l

based in Scotland, with a background in graphic design

other ar t forms, Nor th Lands has become a byword for

a n d m i xe d m e d i a , B o l a ñ o s - D u r m a n r e p u r p o s e s f o u n d

excellence, innovation and trail-blazing in glass ar t and

objects ‘transferring them into ar tefacts that tell a

design encyclopedically throughout the world. From the

stor y ’. Working alongside Studio Walac, Bolaños-Durman

g e n e s i s o f a s h e e r b r i l l i a n t i d e a h a s c o m e a n i n t e r n a-

h a s c re a t e d ‘ L a d y C a r ro t ’ f ro m h e r ‘ I s l e s o f R e c l a i m e d

tional network of envy of any centre of excellence. One

Wo n d e r m e n t ’ S e r i e s o f t w e l v e l i g h t i n g s c u l p t u re s . O n

can only wonder what the next quar ter centur y will bring,

f i r s t a p p e a ra n c e s u c h f o u n d g l a s s o b j e c t s j u x t a p o s e d

and there is nowhere on the European continent more a

on reclaimed wood may not seem more than a conversa-

h o m e f o r t h e p ro m o t i o n o f i n n ova t i o n a n d i n g e n u i t y i n

tion piece, but in reality these are highly formed works

the glass ar t form than Nor th Lands. Indeed when one

o f s o c i a l c o m m e n t a r y t h a t ‘ t ra n s f o r m w a s t e m a t e r i a l

thinks of Nor th Lands it is the words of John Keats from

i n to f a n t a s t i c a l a n d f u n c t i o n a l p i e c e s . B y f o c u s i n g o n

On the Sea that resonate:

the beauty of slowing down, appreciating the potential

‘It keeps eternal whisperings around

of the waste around us’, Bolaños-Durman and Studio

Desolate shores, and with its mighty swell

Wa l a c a r e c r e a t i n g t h e r e v o l u t i o n a r y i n t h e p o w e r o f

………….When last the winds of heaven were unbound’.

s u c h i n t i m a t e p o e t i c e n s e m b l e s to q u e s t i o n s o c i e t y ’s

. Dr Audrey Whitty, Deputy Director/Head of Collections . & Learning, National Museum of Ireland and board

consumer habits and their effect on our world. These are

member of Nor th Lands Creative

SUSTAINABLE ART GLASS PRACTICE

Responsible consumption and production within a sustainable Ar t Glass practice is gaining considerable ground within the Ar t Glass community. Glass is a sustainable material, as it is made from natural materials and if properly c l e a n e d a n d s o r t e d c a n b e i n f i n i t e l y re c yc l e d . U n f o r t u n a t e l y, re c yc l i n g a n d processing glass is complex. Contamination and sor ting are a huge problem, most waste glass is only considered for single loop recycling, with the majority becoming aggregate within road sur faces. When processed and disposed of in the right way glass can offer a viable alternative to synthetic materials, offering sustainable products that actively reduce our impact on the environment.

This recognition of sustainable development models within the international A r t G l a s s s e c to r h a s s e e n a n e w w ave o f g l a s s a r t i s t s e m p l oy i n g s u s t a i n a b i l i t y d r i ve r s w i t h i n t h e i r c re a t i ve p ra c t i c e ; t h ro u g h t h e p i o n e e r i n g u s e o f recycled and sustainably sourced materials in their work or the development of low-impact alternatives for production. The small batch, limited edition and one-off production runs of glass are not over-consumed, they are conscious, deliberate and intentional acts made by ar tists who take great care and time over their work. Glass Ar t does not cause major environmental pressures, it creates ar tefacts of legacy that will outlive their owners but most impor tantly, i t c a n b e c o m e a c t i va t e d a s a ve h i c l e f o r a r t i s t s to vo i c e t h e i r c o n c e r n s o f the sustainability issues we face, in the form of craft-activism. Sustainably p ro d u c e d A r t G l a s s c a n b e v i e w e d a s a v i t a l a n t i d o t e to t h e e n v i ro n m e n t a l issues we face and should be suppor ted for future generations.

Costa Rican Glass ar tist, Juli- Bolaños Durman repurposes found glass objects which she transforms into ar tefacts; each tell a unique narrative (figure 4).

S h e i s b a s e d i n Ed i n b u rg h a n d c o m p l e t e d h e r M FA a t Ed i n b u rg h C o l l e g e o f Ar t in 2013.

J u l i B o l a ñ o s - D u r m a n c o l l a b o ra t e d w i t h f u r n i t u re d e s i g n e r S t u d i o Wa l a c to create ‘The Isles of Reclaimed Wonderment’, a new series of 12 one-of-a-kind lighting sculptures.

The collection invites audiences to wander into a world of fantasy – a departure from the usual representations of lighting. The Isles come to life using

GLASS REVOLUTION

Dr Jessamy Kelly the Progamme Director of Glass at the Edinburgh College of Ar t and board member Nor th Lands Creative locally found glass that has been collected, rescued and treasured over the years from the community, alongside graphic wood cutouts. With compassion at our forefront, each component is carefully uplifted and embellished through heritage hand-cutting techniques and graphic mark-makings.

T h e C o s t a R i c a n & Fre n c h d u o ( re s p e c t i ve l y ) h ave w o r ke d to g e t h e r f o r t h e first time to transform waste material into fantastical and functional pieces.

By focusing on the beauty of slowing down, appreciating the potential of t h e w a s t e a ro u n d u s a n d h o w t h e s p i r i t o f t h e d i s c a rd e d i s re n e w e d ; h e n c e becoming beacons for social change. This methodology is a quiet, poetic act of rebellion; a challenge to our current consumer habits and the status quo.

Gregor y Alliss is a British ar tist working in glass and engineering. He predomi nantly works with kiln casting and coldworking techniques working with o p t i c a l g l a s s a n d re c yc l e d g l a s s . H i s w o r k i s a s t ro n g c o m m e n t a r y o n t h e impact glass studio practice has on the environment as well as questioning the materials we use. His research is focused on finding low-impact alternatives for casting and for creating refractor y moulds, to advance a more sustainable studio practice.

H i s re c e n t a r t i s t i c p ra c t i c e h a s b e e n h e av i l y f o c u s e d o n u s i n g w a s t e re c y c l e d g l a s s f ro m C a t h o d e R a y Tu b e s ( C RTs ) . T h e g l a s s t u b e s w e re t h e ke y c o m p o n e n t o f o l d - s t y l e t e l ev i s i o n s . H i s c u r re n t w o r k h a s e x p a n d e d o n t h i s to i n ve s t i g a t e a t t h e p ro d u c t i o n o f g l a s s a r t m a d e f ro m n o n - t ra d i t i o n a l ra w materials and glass ar t made from waste glass that is not traditionally used

Images (Top) Juli Bolaños-Durman & Studio Walac ‘The Isles of Reclaimed Wonderment ’ 2021 Image Credit: Matt Gonzalez-noda. (Lower) Gregor y Alliss, Transparent Flow, Kiln cast CRT Glass, 2019 Image credit: Lauren Puckett

by glass ar tists.

He is currently researching a PhD at the Edinburgh College of Ar t (ECA). Having previously gained an MFA in Glass also at the ECA. His PhD is practice based looking aspects sustainability in the context of glass ar t studio practice.

WEARABLE ART The use of glass in jeweller y making has a strong histor y, use of this incredibly versatile material by contemporar y jewellers is an exciting yet often under explored medium of glass. With new approaches to creative thinking a new generation of contemporar y glass ar tists are exploring tangible connections between glass and wearability. Addressing issues of sustainability and exper tly harnessing the inherent characteristics of glass whilst challenging preconceptions surrounding glass, these ar tists are expanding the boundaries of materiality.

The work of Irish ar tist and designer Laura Quinn is one such ar tist whose work combines traditional handmade glass techniques with new digital technologies to create wearable pieces that are movable and durable. The striking helical structures are flexible and undulates comfor tably around the wearer. Component can be easily taken out for repair or replacement, allowing the piece to become sustainable. This work encourages a close human connection with glass as a material, and encourages the wearer to question any preconceived ideas that glass is too fragile to touch.

A rg e n t i n i a n a r t i s t A g u s t i n a R o s ( b a s e d B a rc e l o n a S p a i n ) w o r k i s d e f i n e d b y a s y m b i o t i c re l a t i o n s h i p b e t w e e n t h e c re a to r a n d t h e m a t e r i a l . H e r w o r k i s i n s p i r e d b y t h e s e a r c h to h i g h l i g h t t h e i n h e r e n t l u m i n e s c e n c e a n d r e f l e c t i o n s t h a t a r e m a n i fe s t e d i n g l a s s .

I n s p i re d b y t h e i n t a n g i b l e c o n n e c t i o n s b e t w e e n i r i d e s c e n t l i g h t a n d s p a c e a n d t h e i n f i n i t e p o s s i b i l i t i e s o f a p p re c i a t i o n a n d a d m i ra t i o n . T h e a r t i s t ’s p l a y f u l a n d e x p e r i m e n t a l a e s t h e t i c i s h o n e d t h r o u g h t h e d e l i g h t s h e e x p e r i e n c e s d u r i n g t h e c r e a t i v e p r o c e s s .

Images From Top ( L-R ) Nirit Dekel, Israel “Dew bracelet” Agustina Ros, Argentina “Pinky Ringlet Earrings” Mar ta Edocs, Hungar y “Black Floral bubble swing necklace” Laura Quinn , Ireland “Sisyphus Arm Piece Clear ” Agustina Ros, Argentina “Pinky Rings & Tetris Rings”

NORTH LANDS CREATIVE 25 YEARS IN GLASS

EDUCATION & SUSTAINABILITY Nor th Lands Creative is a centre of excellence for glass making in the Highlands of Scotland. Over its rich 25-year histor y, it has become one of the world’s principal hubs for the study, research and exploration of glass making.

OPPORTUNITIES Nor th Lands Creative’s aim is to promote and suppor t a global community of ar tists, designers, curators, researchers and cultural proffesionals working in the medium of glass, to share experiences, creative practices and oppor tunities transnationally.

Our yearly programme offers oppor tunity for creative professional development through Ar tist in Residence, Scholarships, Internships, Exhibitions, Master Classes, Commissioning, Digital Programming, Symposiums and an annual Forum.

SUPPORT & CONNECTION Centred around a core belief in conservation, education and sustainability of the art form, N o r t h L a n d s C re a t i ve p ro m o t e s i c o n i c h e r i t a g e to c o n t e m p o ra r y s t u d i o g l a s s a n d s u p p o r t s a n exemplary educational and exhibition programme.

S i n c e i t s f o u n d a t i o n i n 1 9 9 5 N o r t h L a n d s C re a tive has become an internationally renowned c e n t re d e d i c a t e d to t h e s t u d y a n d d eve l o p m e n t o f g l a s s a s a n a r t f o r m . T h i s h a s b e e n a c h i eve d through a collecting effor t; dedicated NLC staff, b o a rd , v i s i t i n g a r t i s t s , p a r t n e r s a n d s u p p o r t e r s mean we have consistently delivered innovative programmes and maintain spaces of excellence.

A s a n a t i o n a l c h a r i t y o u r i n c o m e g o e s d i re c t l y i n to h e l p i n g b u i l d a s t r o n g e r g l a s s c o m m u n i t y which benefits ar tists and crafts makers globally.

Find out more at www.nor thlandscreative.co.uk Thank you to our funders for their suppor t

Nor th Lands Creative promotes good principles on conservation, education and sustainability through retreats, study, research, reflection and the ar ts.

Situated in an Area of Outstanding Natural Beauty, NLC offers creative practitioners complete immersion into a stimulating, expansive and striking environment through which to explore new practices and possibilities.

OUR ACTIVITY

Caithness is also home to a rich backstor y that covers Neolithic burial chambers, Pictish stones, Viking graves and medieval castles. Our campus is set in the coastal village of Lybster, and offers views across to the Mor ven Hills and landscape scattered with dwar f shrubs, moss heath and rough grassland.

Nor th Lands Creative facilitates and suppor ts professional ar tists to make new ar twork. It also offers a highly visible and accessible programme of talks, events and education activities around the studio and galler y that engages visitors with ar tists and ar t-making. NLC provides a suppor tive and welcoming environment for ar tists of all levels.