GHH Newspaper Issue 4 Plan August 24 Spreads - Flipbook - Page 13
Name of Maker: Jack Brindley
Name of piece: Circular Grid Study (Amethyst)
Where to find: The Bar at No. 124
The work is made up of 5 glass panels, back lit from behind and will sit as
a central feature to The Bar at No. 124. It features a grid-like exploration
of segments of a circle. The idea behind using a repeated pattern is to
encourage the eye to skate over the surface of the window, constantly
moving from one zone to the next, never to rest on a singular motif.
Hopefully this results in a fluid and dynamic contribution to the surrounding
architecture. Different types of glass with a variation of surface textures
has been used, each will reflect and refract the light in its own unique way,
hopefully this brings a sense of depth and movement to The Bar.
These windows bring together historic processes and materials such
as Silver-Stain, which has been used in stained glass since 1300, and
contemporary techniques such as glass bonding, and toughening. By my
count, there will be 455 pieces of individually hand cut glass, (some of
them no bigger than 20mm) and with roughly a quarter of the glass hand
painted with enamels and stains before being fired in a kiln. My glass work
is very process heavy, but the end results aim to achieve a lightness and
simple aesthetic contribution to a space.
Name of Maker: Corinna Wilson
Name of piece: Abstract Oasis
Where to find: The Vinyl Library
Working from my studio in Brighton, I create one off pieces of art in wool
using a combination of hand tufted and machine based techniques. I
grew up in a traditional household surrounded by tapestries, cross stitch
and patchwork quilts which instilled in me a love of creating, crafting
and textiles. Inspired by the natural world, I aim to tread a line between
form and abstraction to allow the viewer some room for their own
interpretations. I love the textures and 3D form that the works take on in
wool and the nostalgic nod to traditional tapestries.
This piece was inspired by a recent visit to Morocco where I visited several
botanical gardens and was inspired by not only the beautiful array of
flowers and plants but also the juxtaposition of the tiles and patterns
found there which I have reflected both in the earthy tones and ornamental
accents.
I am inspired by the fluid and unpredictable forms of the natural world
and whilst I don’t draw directly from what I see I use the forms I remember
to create my own visual language of the natural world by combining
recognizable forms with abstract shapes and colours.
13
