How would you describe your artistic style to someone unfamiliar with your work?
My work is centred around contemporary fused glass art, combining fused glass with printmaking influences to create semi-abstract landscapes and seascapes. I work intuitively with layers of crushed glass, allowing the material to flow and react in the kiln to create texture, movement and depth.
Much of my work has a painterly quality, using opaque glass almost as if I were painting with glass itself, while transparent layers create richness and luminosity. Each piece is entirely handmade and unique, shaped by both intention and the unpredictable beauty of the kiln-firing process.
My previous career in higher education instilled in me a passion for continuous professional development, research and experimentation, and that mindset naturally continues to influence my creative practice. I am constantly exploring new techniques, materials and processes within glass, always learning, testing and refining ideas within the studio. I think that curiosity and depth of enquiry are reflected in the work itself.
What themes or ideas do you find yourself returning to most often?
I continually return to the idea of “a sense of place” — how landscapes hold emotion, memory and meaning. My work is inspired by the dramatic natural environments surrounding me: the rugged beauty of the Peak District and the coastline of a small Spanish fishing village where I have a home.
I am fascinated by the atmosphere of a landscape — shifting light, dramatic skies, texture in the land and the emotional connection we develop with certain places. My semi-abstract pieces aim to capture not just what a place looks like, but how it feels.
What is your creative process from idea to finished piece — is it always the same?
My process is quite organic and never exactly the same. I often begin with photographs and sketches taken while hiking or exploring landscapes that inspire me. From there, I build layers of specialist crushed glass to create texture and movement.
I’m particularly interested in the chemical reactions that occur when certain glasses are combined and kiln-fired. I sometimes introduce pure silver into the compositions, which creates wonderfully unpredictable reactions and subtle colour shifts. The work is then kiln-fired at around 800°C, often over multiple firings and many hours.
One of the things I love most about working with glass is that you are never completely in control. The transformation from solid glass to molten form and back again always contains an element of surprise. Opening the kiln is still one of the most exciting parts of my practice.
How does your immediate environment or location play in your work?
Location is absolutely central to my work. I live in the shadow of Stanage Edge in the Peak District, and the landscape constantly inspires me. I see the edge in changing weather, shifting seasons and different qualities of light — from dramatic skies to moonlit stillness — and these moments often become the starting point for new pieces.
I also spend time on the Spanish coast, and the contrast between the rugged Peak District and the Mediterranean coastline strongly influences my work. Both landscapes have a powerful atmosphere and emotional resonance that I try to capture through colour, texture and light within the glass.
If your work could evoke one feeling or reaction in viewers, what would it be?
I would hope my work evokes a feeling of connection — a quiet emotional response that reminds viewers of places that feel meaningful to them. I want people to pause, reflect and perhaps feel transported into the atmosphere of the landscape itself.
There is also an element of wonder in glass because the work constantly changes with the light. I love that viewers often discover new details and reactions within a piece over time.
What tools, materials, or techniques are essential to your practice?
Kiln-fired fused glass is at the heart of my practice. I work primarily with specialist crushed glass, layered transparent and opaque glass, pure silver, and occasionally stained glass techniques and printmaking methods.
The kiln itself is essential, as the firing process creates the reactions, movement and textures that make each piece unique. I also place great importance on sustainability within my studio practice — recycling offcuts into smaller works such as pendants and sun catchers, and using recycled or sustainable materials wherever possible.
Have you got a project / award / residency / or idea you are excited to share with us?
I’m currently working on a series of small semi-abstract pieces inspired by Stanage Edge, exploring how the landscape changes under different light conditions. These works combine pure silver with crushed coloured glass to create unique kiln reactions and atmospheric surface effects.
I’m also very excited to be taking part in an upcoming exhibition in Spain alongside a Spanish artist, centred around the theme of the coast. The exhibition will explore connections between landscape, memory and coastal identity, bringing together influences from both the Peak District and the Spanish shoreline.
Where can we find your website and social media?
Social media https://www.
IG & FB @hopevalleyglassart
