Simon's Week 15th-21st July

This July, you are invited to celebrate and remember Simon Alderson, a beloved artist and teacher that we lost in January following a short and sudden illness.

An inspiration and friend to many, Simon’s impact was immeasurable, and Simon’s Week signifies a call to create something with him in mind.

This week is for everyone to be together in remembrance, regardless of distance, wherever we are. Whoever Simon was to you, whether you knew him well or didn’t get the chance to meet him, it is simply an occasion to take time and make something, in whichever way feels right for you.

Here, I’d like to make some suggestions of starting points. They’re just ideas for anyone who doesn’t know where to start. There’s no right or wrong, only love and solidarity.

If you’d like to share your creation and/or memory of Simon during Simon’s Week, please use the hashtag #simonsweek and tag @saldersonglass and we will all be able to keep track of each other’s creations and feel a sense of togetherness in our remembrance.

On the theme of Birds

Simon loved birds and explored them thoroughly in his artwork from drawing through to painting, sometimes from life and sometimes from photographs. In whichever medium works for you, you could consider exploring the image of a bird. Perhaps taking photographs or viewing them in nature, maybe then taking that through to drawing or approaching in any creative medium, whether its glass, textiles, ceramic, dried pasta and PVA glue. The choice is completely yours.

Simon mid-process, applying frit powders on a light box, 2022

On the theme of Nature

Simon’s nature inspired work was often explored in glass frit or traditional stained glass paint which allowed him to layer in a way that created a watercolour effect, transferring his painterly skills to the glass. He loved texture and subtle colour changes. Perhaps you could look at painting nature imagery, with paints or glass, and capturing what you see in a medium that suits you.

Oranges, a painted stained glass panel made by Simon in 2015

On the theme of Baking

Simon’s cakes were always such a treat, he made lots of different types and he loved the process. So perhaps trying a new recipe, or whipping up an old favourite in the kitchen could work for you? In my completely subjective opinion, it was Simon’s lemon drizzle that was the best, but I know others have many varied favourites, including his chocolate cheesecake or Victoria sponge. Simon always shared his bakes over a cuppa, so perhaps you could do that too.

Birthday cakes made by Simon, 2016

On the theme of Drawing

I’ve mentioned this already in the context of birds, but perhaps looking at the drawing aspect more specifically will be of interest. I rarely draw, and certainly never from nature, so I’m going to explore some simple nature drawing during Simon’s week in an attempt to connect with his process.

Male and female pine grosbeaks, pencil and markers, as part of Birdtober 2023

On the theme of Creating for Fun

Simon explored and dabbled in lots of creative hobbies, including weaving and tapestry. Perhaps this could be an opportunity to explore a completely new craft or hobby, especially if your main craft falls into the ‘job’ category.

Simon’s tapestry project in progress, 2017

On the theme of Taught Skills

I know many of you learnt skills from Simon, perhaps this is an opportunity to practice these. If anyone has any technical queries, and needs help with techniques learnt years ago, please email me I’ll be happy to help.

A kiln full of student work, Strip Fusing technique, 2015

On the theme of Gardening

Simon loved his garden. He was very knowledgeable about flowers and loved to make meals using veg he had grown. Maybe you could tend your garden, or plant something new in a pot, in his memory.

Buying a plant in IKEA in 2016

On the theme of Lego

Simon loved to build Lego models, do you? Perhaps treating yourself to a new set would be a nice way to make something and remember Simon.

I hope this is useful. I’ll post daily during Simon’s Week on Instagram, so please do use the hashtag #simonsweek so we can all follow along. Wishing you all a thoughtful and warming Simon’s Week.

Simon Alderson's contributions to my book Creative and Professional Development for Glass Artists

This book celebrates it’s first birthday next week, and I want to celebrate that. But it’s also a difficult one, emotionally, because during this year, one of the contributing artists has left us, and he was a dear friend of mine. So for my book’s anniversary, here are all of the pages that include contributions Simon Alderson made, shared in the hope that his wisdom can continued to be benefitted from without a paywall, and that those who wish to can feel closer to him.

For optimum page display, I suggest this blog is read via a tablet or computer screen rather than a phone.

Thanks for reading all. <3

To learn more about Simon, here is a piece I wrote about him for Contemporary Glass Society.

Resilience: Finding strength when rejected for competitions/exhibitions/residencies

Forging a path as a creative can be a tough business. Applying for competitions, exhibitions and residencies – and succeeding - is the clearest way to get your work in front of people, receive validation from your industry and build a path for your career. But unlike any other aspect of your creative or professional development, it’s a trajectory you can’t plan for as decisions are made by others.

If you like to be in control of your progress or suffer with anxiety (I am both), the vulnerability of putting yourself forward and the agonising wait to hear if you’ve been accepted can be overwhelming. In order to put out the best application possible, you have to believe you are going to get it. You have to invest your time and often your money. When you have that belief, and you tentatively add the opportunity to your calendar in case you get it and need to allocate the time for it, it can be devastating to get a rejection. I have thought to myself, ‘I’m not good enough.’ I have felt embarrassed to have ever believed that I could be selected in the first place, deleting it from my calendar. On the other side of the coin, when you are accepted, getting validation from the industry feels euphoric. Applying for things requires a lot of energy and emotional admin, and I occasionally ask myself ‘why am I doing this.’

I’m thinking a lot about this at the moment as last week I received a rejection for a prestigious event that I had spent weeks on the application for, and I also was not shortlisted for a competition that I spent three months creating a piece to submit for. Aside from the time spent filling out the applications (which for the event required a full, year-long marketing and finance step-by-step plan), I also invested in professional photography of my work, mock-ups from a graphic designer and mentoring from other artists.

To receive these rejections in the same week after waiting months for the result was a big blow, but I’m not writing this to say that reaching for opportunities and putting yourself out there is all doom and gloom, rather, my intention with this blog is to explain exactly how I took these rejections and found the adrenaline to create a new opportunity for myself and build a thick enough skin to pull myself out of the ‘why am I putting myself through this’ spiral that is so easy to fall into. I also think it’s really important to share my voice on this side of things. I am always quick to share my successes and acceptances, but for every opportunity I am lucky enough to get, there are at least three where I receive the dreaded ‘we’re sorry to inform you’.

Getting a rejection feels very personal. The word ‘rejection’ itself feels like a punch, so I try to reframe a rejection as a ‘non-acceptance’. Rather than being actively rejected, in most of these situations the truth is more passive; I was ‘not accepted’. And I find this easier to rationalise, because what that means is that other artists were accepted. The opportunity wasn’t meant for me, and I am grateful that we have an industry full of opportunities. There’s so much amazing glass out there. Having an interest and a passion for other artists’ work and finding joy in their success is a route to peace following a rejection. The nature of selected exhibitions and prizes suggests a competitive arena, but I don’t like to feel that I’m in competition with my peers. If you can reframe the idea of ‘competing against’ to ‘competing with’ other artists, you can reach for and sometimes miss out on these opportunities without compromising the comfort of your community.

I remind myself that all art is subjective. Most competitions and exhibition application guidelines do not dictate judgment criteria, and that means that the personal taste of the judge/s is extremely relevant. When competitions make entries public I often look at them and note how impossible I would find it to judge. If you are presented with a selection of work that is incredibly diverse, yet all exceptionally made and photographed, judging must be so difficult. And I know my work isn’t for everyone. I can reassure myself that a rejection isn’t because my work wasn’t good enough, it was because there were lots of great entries and mine wasn’t to the judges’ taste.

I can’t know for certain what the reasons were of course. But there needs to be some sense of rationalisation because the alternative is falling into a sort of existential crisis where I throw my toys out of the psychological pram questioning why I do glass in the first place, why I bother trying to fit within a pre-existing culture, imagining walls that I can’t break through. That’s not healthy or useful, but I think it’s a really human way to respond to rejection until you can contextualise it by receiving a ‘yes’.

That first ‘yes’ can carry you through a sea of ‘no’. From that first ‘yes’ you know that a ‘yes’ is possible, you start building connections with people and your future submissions become more refined and confident.

I have been very lucky to have had my work selected for two fantastic exhibitions in 2022, and although that doesn’t make the rejections I received last week any less felt, I am able to recognise that it wasn’t because my work wasn’t good enough or that I wasn’t worthy of applying. I didn’t waste my time. My submissions were the best that I could produce, and who knows who now knows about me, who may be considering me for a different opportunity.

Lastly, I have an actionable plan for what to do if I don’t get accepted for an opportunity I really, really want. Not a back-up plan, but an alternative plan. Something to be excited about and work towards instead. As such, when I didn’t get accepted for the event I immediately got in touch with one of my favourite galleries to pitch an idea, and I’m thrilled that I now have dates on the calendar for my first solo show next summer.

If you feel like you’re struggling to make progress and you’re still waiting for that first ‘yes’, keep going. Get feedback on how you write about yourself, make sure your photos are great and seek feedback on your artwork. Keep at it, you will get there. Remember that you are the most important person on your journey, you are the only person whose validation you need to keep going. What does glass do for you? Why do you do it? Why do you love it? Keep going. And when you get that first ‘yes’, celebrate and keep climbing!

Wishlist cutting and grinding tools, what do you really need?

So you’ve seen something awesome advertised, but will you use it or will it sit a cupboard for months? It can be a bit of a minefield trying to figure out what you really need, what you might need and what you probably don’t need. In this blog, I’m looking specifically at cutting and grinding tools to let you know what they’re good for, what they aren’t good for and my opinion on them. Everyone has different thoughts on what’s essential and what isn’t, this is certainly the case when I ask my students, so my suggestion is to look at each option in the context of how you work to make a decision about what are the best tools for you.

Taurus 3 Ring Saw

A ring saw features a circle profile diamond blade which has a 360° cutting surface. This means that you can push the glass into it from any direction, enabling you to cut complex shapes in sheet glass that can’t be achieved with hand tools. It comes with a standard blade which is ideal for 2mm and 3mm glass. Other blades are available for thicker glass.

What is it good for?

This saw is great for those occasionally needing to cut shapes such as stars, seahorses and letters which can’t be cut with hand tools. It allows you to pierce complex shapes, foregoing the need for scoring the glass.

What is it not good for?

A ring saw shouldn’t be used as an alternative for regular glass cutting. It takes much longer and is much more expensive than using regular cutting tools. The blades are costly and will be worn much quicker if the saw is used excessively. If you are struggling with cutting glass, I recommend addressing this by having a teacher look at your glass cutting or investing in a cutting system such as a Morton or Cutter’s Mate (details below). I run a regular Glass Cutting Tutorial which may also be of interest.

Many of the moving parts of this saw are plastic, which means they are prone to breakage if too much pressure is used to push the glass into the blade. Replacement parts are often tricky to find and expensive.

My opinion

The Taurus Ring Saw is sold at a price that suggests a high quality, professional machine, but the build quality is that of a hobby tool. Unfortunately, there isn’t a real competitor for it on the market at the moment. It is suitable for careful use. 

Glass Grinder

A glass grinder is a machine with a spinning spindle which holds a round, rotating grinding bit. Most grinders come with a ‘standard’ bit with medium grit (coarseness), and bits with different sizes and variable grits can usually be purchased as additional add-ons. Glass can be moved against the spinning bits to grind the glass, changing its shape. Most have water pumps which keep the glass cool. 

What is it good for?

An ideal time to use a glass grinder is when you’re preparing glass for a leaded or copper-foiled design and the glass isn’t quite the size it needs to be. For foiled designs particularly, being able to round off the corners of sharp pieces makes them easier and safer to foil.

What is it not good for?

I don’t recommend using a glass grinder for glass fusing as a ground edge rarely fires glossy. You may see a matte finish or a cloudiness resembling devitrification. If your pieces aren’t the size you need them to be, it’s often better to nibble the edge into shape with a grozing pliers. Even though this gives you a less consistent shape than a grinder does, the kiln forgives this and heals the edge on firing, and it reliably fires glossy. If you are going to grind ahead of fusing, I recommend using a ‘fine’ grinder bit, so that there is less chance for debris to stick in the ground edge and impact its ability to fire glossy.

My opinion

A useful studio tool, particularly for stained glass and copper foiling. My favourite brand and model is the Kristall 2000s. They’re incredibly reliable even with regular use. As an additional tip, make sure you get the best life out of your bits by moving them up and down the spindle as they wear, so you get the full use of the grinding surface. 

Cutter’s Mate/Morton Cutting System

There are lots of cutting systems on the market that aid in glass cutting, in a series of ways. Most systems feature a waffle grid cutting surface, which the different jigs and cutting aids can be attached to. These include components that allow you to create even pressured scores, straight scores and circular scores. There is usually a base system, and add-ons that can be purchased separately. The two best quality systems available in the UK are Cutter’s Mate (available at Creative Glass Guild) and Morton (available at Warm Glass). 

What is it good for?

These systems are great for those who struggle with glass cutting; whether that’s applying an even pressure or following a template. If you enjoy strip cut construction techniques or otherwise regularly need to cut consistent strips, these systems can improve your accuracy and save you lots of time. The weighted glass cutter allows those who struggle to apply pressure to cut better and for longer.  

What is it not good for?

As far as glass cutting goes, these systems are great. Before you invest though, it’s probably worth finding out if the reasons you are struggling with cutting are technique-based. Often it can be a fairly simple fix. If your cutter isn’t making a consistent scratching noise for instance, this is usually due to the cutting wheel hitting the glass at an angle rather than straight. So watch out for this!

My opinion

A fantastic addition to a glass studio, if you have the budget for it. But if you don’t fear not, glass cutting is all about practice and getting your technique right. Trying a pistol-grip cutter can also be a cheaper option of changing up your glass cutting technique.

Flat Lap Grinder

A machine featuring a flat, spinning surface that allows you to grind and polish flat surfaces. Some enable you to attach magnetic grinding disks and others are used with silicon carbide grit which is manually added to the surface. Most will have a tap fitting, allowing you to keep the glass cool as you grind it.

What is it good for?

Lots of things! Drop-out rims, sculptural pieces and pattern bar slices ahead of final firing to name a few.

What is it not good for?

It might be obvious, but it’s not good for grinding anything you’re not aiming for a flat surface on. If you’re looking to follow curves or explore more specified grinding of areas, a lathe would be the appropriate machine to look at.

My opinion

Glass grinding and polishing is an area where having machinery is a real bonus. It can really speed up your finishing process and take your glasswork to a more refined level. They are very expensive, and the Glastar is the most affordable model. More substantial models are created by Kilncare and Covington Machines. A flat lap was my first choice when taking the plunge to invest in cold-working equipment. 

Tile Saw

A simple, motorised saw, that when fitted with a diamond blade can be used to cut straight lines in glass of varying thicknesses.

What is it good for?

Chopping up pattern bars, screenmelts, any fused glass that you want to cut up and incorporate into other designs.

What is it not good for?

It can only cut straight lines, so doesn’t have the versatility of a ring saw, but at less than 10% of the price of a ring saw it’s a no brainer!

My opinion

A great way to build your confidence in sawing glass, particularly if you make pattern bars or other thick work that you want to cut up. I use the QEP Wet Tile Cutter from Toolstation, but any similar model will do, and the diamond blade it comes with work! But if you’d like a cleaner cut, you can get the porcelain blade too.

Diamond Hand Pads

Foam hand pads with diamond coated work surfaces, available in a variety of grits. Coarse grits grind at a quicker pace than finer grits. Ideally you work up from a coarse grit through the finer grits. A 200 grit surface will fire glossy on a full fuse, a 600 grit surface will fire glossy on a fire polish.

What is it good for?

An entry level way of grinding without the cost of a machine. Great for small or delicate jobs, such as drop-out rims, removing kiln paper residue and devit and tidying up edges.

What is it not good for?

Big jobs. Grinding with hand pads takes a long time and is hard work. You will not dramatically change the shape of a piece of fused glass with diamond hand pads alone.

My Opinion

Essential for a glass studio, they are mainly used to finesse corners and edges on fused glass objects ahead of fire polishing.

I hope this is useful! Are there any other glass cutting or grinding tools you aren’t sure about? Let me know in the comments!

I am not sponsored by any product or brand and all opinions are my own, informed by my experiences as a teacher and in the art glass retail industry.

How to choose a glass kiln

Purchasing a kiln can be a daunting prospect, particularly if you’re still a beginner and you’re not sure what to look for, so here you’ll find information about the functionality, maintenance and reputation of many of the most popular glass fusing kilns, including what to look for if you’ve found a kiln for sale second-hand.

These recommendations aim to layout the options in simple terms for those new to glass, full technical information and specs are displayed on the kiln manufacturers and suppliers’ websites. I’ve included information about which suppliers stock which kilns, and what benefits you can receive at each supplier, so some of the information is specific to those purchasing a kiln in the UK.  

I have owned or used all of these kilns. Any opinions expressed here are informed by my experiences as a kiln owner, a teacher, a past employee of a leading kiln distributor and my students’ experiences with their kilns. 

Kilncare Hobbyfuser 3

Overview

• Plug straight into the wall

• 38cm x 38cm square shelf

• Sprung lid (easy lifting), infra-red quartz elements

Brand

Kilncare are a fantastic brand and the undeniable UK leading manufacturer of high-end, fantastic kilns. They offer fantastic customer service, and even produce parts and offer servicing to kilns made by other companies.

Where to buy new

This kiln is available at all of the big suppliers, and I suggest you choose the one which stocks the glass you use as purchasing a kiln will make you eligible for discounts.

Second-hand

These kilns are a pretty safe bet second-hand (I actually bought my own second-hand). They are built intuitively, so if a brick or element needs replacing this is very easy to do. Look closely at the fibre roof, is it still intact? Cracks in the fibre are normal, but if it’s fraying, dented or if any of it is missing it may be due for replacement. Issues of this kind could imply improper care or propping-up of the lid. Fibre lids can last a good ten years if cared for properly.

Pros

• The fibre lid is a major selling point of this kiln. It has far greater longevity than a brick lid, which will eventually start to drop little bits onto your glass. This won’t happen with a fibre lid.

• Sprung lid, which makes it easy to open and close.

 Cons

• Price. Yes, this is a fantastic kiln, but the price increases so dramatically each year that I’m starting to see kilns bought 3-4 years ago being sold by their owners for more than what they paid. Five years ago this kiln was much more accessible, but increasingly, people are being priced out by this kiln and choosing alternatives.

• Fairly shallow, meaning you are limited to 5” (6” if you’re pushing your luck) drop outs (assuming 6mm thick glass). Those looking to focus on drop outs may consider the Hobbyfuser Deep or Profuser Deep, which offer extended height.

Skutt Firebox 14 

Overview

• Plug straight into wall

• Cost-effective starter kiln

• Brick lid, coil elements

• 35cm x 33cm shelf size

Brand

Skutt are a reputable American brand of kilns for ceramics and glass.

Where to buy new

Skutt glass kilns are exclusive to Warm Glass in the UK.

Second-hand

If you are buying a second-hand Skutt there are two important things to look at, the lid and the elements. I often hear of issues with Skutt lids, but with careful care they have good longevity. Because the lid is heavy it can be dropped too quicky, which over time will cause cumulative damage. Look at the corners, both inside and outside, and the brick all over the inside of the lid. Are there any bits missing, however small, or cracks? These could lead to bits of brick falling on your glass and eventually a new lid will need to be installed. Flaking to the top surface of the lid is normal and not an issue. When looking at the coiled elements, look to see that they are not protruding from the lid and notice if the coil is significantly tighter in some places than others. Both of these will suggest that some maintenance is necessary.  

Pros

• A great price for the size 

Cons

• Necessity of extra care with lid

Top Tip - The Olympic Fuser 14 is virtually identical in function and price to the Skutt Firebox 14. The main difference is the controller (see below). But the main point that you need to consider when choosing between the two is which glass you use; COE90 (Bullseye) or COE96 (Oceanside/System 96, Wissmach, Youghiogheny) as the Skutt is exclusive to Warm Glass and the Olympic is exclusive to Creative Glass Guild. If you use COE90 you’re better off buying your kiln at Warm Glass as they stock Bullseye, and if you use COE96 you’re better off buying from Creative Glass Guild as they stock this glass. Buying a kiln from either company makes you eligible for discounts on their glass and both companies also send you a box of promotional goodies.

Olympic Fuser 18 Clamshell

(This information is also relevant for the Olympic Fuser 14, which has optional clamshell option and the shelf is 31cm x 31cm approx.)

Overview

• Plug straight into wall

• Bigger than a Kilncare Hobbyfuser, and cheaper

• Brick lid, coil elements, side elements

• 42cm x 42cm shelf size

Brand

Olympic are a friendly, reputable American kiln brand.

Second-hand

These kilns have only been in circulation in the UK for a few years so they don’t often come up second hand, and if they do, they’re still going to be reasonably new. If buying second-hand, you’re looking at the same things as the Skutt, the condition of the lid and the coil elements.

Pros

• Both top and side-heating elements (rare for a glass kiln) particularly useful for those doing drop-outs.

• Clamshell lid allows easy insertion of a loaded kiln shelf

• Controller that allows you to key in numbers rather than using up and down arrows, making it much quicker to use than most other styles of controller.

• Like all Olympic kilns this one comes with great supporting kit, including two kiln shelves and a selection of kiln furniture and papers.

Cons

• Care needed to minimize deterioration of the brick lid  

Top Tip - Even though Skutts and Olympics are American made, Kilncare make coil elements and other spares to fit these kilns, and it’s worth getting a price from them as well as from the manufacturer to see which is more cost-effective.

Paragon SC2

Overview

• Plug straight into wall

• 17.5cm x 17.5cm kiln shelf

• Smallest kiln you can get that has suitable kiln controller for glass (I think!)

• Front loading 

Brand

Paragon are perhaps the most established American kiln brand. They make great kilns, but they are not known for providing the best customer service in the UK.

Second-hand

This kiln comes up quite a lot second-hand. The first thing you need to know is that there is a version of this kiln with a bead door, used by lampworkers. This version can be used for fusing, but be aware that it is very likely to be cooler in the front than the back when fusing as the heat seal on the bead door deteriorates over time. This can cause a number of issues for glass fusers. I would recommend that a new glass fuser does not have a second-hand SC2 with bead door as their first kiln. This kiln costs hundreds more than it did just a few years ago, so be wary of someone selling an older kiln for not much less than the current ‘new’ price. 

Pros

• This really is a charming little workhorse kiln. It’s reliable, easy to use and its size makes it ideal for sample making and testing. I find it the ideal accompanying kiln for my Hobbyfuser. On its own great for jewellery, or singular small projects.

• Sits on a desktop, doesn’t take up huge amounts of space.

• Useful if you do lampworking as well as fusing.

• Fibre walls/roof means no risk of pieces of brick falling on your glass 

Cons

• Elements are buried underneath the fibre walls, if an element broke I can’t imagine a way it could be fixed without taking the entire kiln apart.

• The price of this kiln goes up significantly each year, and with accessibility being a real issue in the glass world and this being a supposed ‘starter kiln’ I find this a real issue.

• Paragon websites difficult to navigate and a struggle to get adequate support from Paragon and their UK distributor when things go wrong or you need help. 

Additional tips

• The courier who delivers your kiln will only be insured to deliver to you door and not put your kiln in place in your house. You will need enough people to move your kiln into your house (usually 2-3 able bodies depending on the kiln.)

• Never plug your kiln into an extension lead, it needs its own power supply.

• Your kiln preset programs and manufacturer recommended programs are a guide only and you will need to do your own testing to find the ideal firing programs for what you want to achieve.

• Your kiln supplier will be happy to answer any questions you have about your kiln, so don’t be afraid to ask!

Want to know more?

I run a monthly Introduction to Glass Fusing 3hr Online Course. This course is specifically aimed at those new to glass fusing, with kilns, who are struggling to get started. I will show you how to use and take care of it properly, and take the fear out of it. We’ll discuss how a firing program works (we’ll look at full fuse, tack fuse and slump) and when to use them. We will also look at design and construction techniques for glass, along with the science and technical information you need to understand them. I will explain the differences between System 96 and Bullseye glasses, what COE means and the best places to buy your materials. You will also receive a recording of the video call for you to refer back to and two weeks of email support from me if you need it. The call will be hosted on Zoom and will be limited to 5 students. The course costs £40 and available dates can be viewed here.

I also offer studio visits for those who need in-person support getting their kiln set-up (geography and COVID situation allowing!).

Finding inspiration in difficult times

If you’ve been knocked sideways by the current pandemic and/or other life events in 2020, it can be really difficult to muster the energy to be creative, or lean into it as a priority. Below are a few ideas to help you figure out how to get going again, or continue with more enthusiasm, without putting too much pressure on yourself.

Why do you do glass, and what does it do for you?

Is it fulfilling at the moment? Is it primarily to earn money? Identifying what doing glass does for you on a psychological level as well as a practical level can help you articulate why it’s important to carry on. If it’s your hobby and it has become stressful, it’s okay to have a rest and come back to it with fresh eyes further down the line. If it’s your livelihood and you need to continue:

Structure is important

One of the biggest psychological challenges of the current situation is the lack of a defined end point. We have no idea when or if things will go back to normal, which has an effect on our perception of time. Therefore, it’s important to create our own robust routines, ensuring that the day has structure. This has relevance both for working artists and hobbyists, and you can decide when you schedule time for work or play.

You don’t need to make corona-virus art

Don’t feel like your artwork needs to in response to or reflective of the current situation. That’s a lot of pressure to put on yourself, and as it’s something we’re still in the midst of, likely a very draining motivation. Rather, look at your creative time as an opportunity to escape from the stress of the situation. Where can you find humour and fun in your work?

Set yourself a series of small goals

Setting yourself a small series of goals can make re-entry into creative practice that little bit smoother. If you’re feeling low and down on your glass practice at the moment, it can be difficult even to set yourself goals. If this is you, allow me to suggest three simple goals for you.

1) Get that bucket of scrap glass, you know the one, and in what ever way you see fit use it or get rid of it. I find doing this is a great tension reliever and a physical manifestation of a shedding of the past in order to move forward. Projects like pot melts, screen melts and pressed glass projects are ideal for this, and all allow you to make a unique slab of glass that you can use as a starting point for further projects. You can find videos on YouTube for most of these processes. I have written a comprehensive tutorial for screen melts including colour advice and firing guides (£4.95), which I can email directly if you would like to purchase.

2) Write a list of everything you need to do, and number them in order of how big a priority they are, then make a start on number one.

3) Take a moment with each of the following words, what does each word look like to you, in glass? Is it a shape or design you know how to achieve? Could it be your next challenge to figure out how to make it?

 FOLD TEMPER SWOOP

Release the pressure

I know this is a tricky one, especially for those of us who are self-employed. You may be struggling to manage getting what you need to done amongst all your other life commitments. I know I have certainly struggled with the balance of being on full time mum duty, whilst also trying to work for my MA, do paid work and find time to be creative. And the truth is, many of us don’t have time to do everything all of the time. Maybe you’ll have time, but no energy. And it’s absolutely fine in that moment to let yourself off the hook, sit yourself down in front of Netflix and take a break. So that hopefully next time you get an opportunity, you feel rested, rejuvenated and ready to be creative.

If you’re struggling at the moment, remember that you’re not alone, and together in solidarity we will get through this! I hope you find these suggestions useful, please do let me know if you implemented any of these ideas in the comments below.

Find out about my Mentorship Programme.