Jessamy Kelly talked about her Master’s scholarship at Edinburgh Crystal and the routes she has since taken which have brought her back full circle to Edinburgh College of Art at the recent ‘400 Years of Glass’ Conference in Edinburgh.

Having completed a BA in ‘Glass and Ceramics’ at the University of Sunderland in 2001, I went on to complete a Masters in ‘Glass Design’ at Edinburgh College of Art. This involved an Industrial placement at Edinburgh Crystal as a student glass designer. This opportunity allowed me to develop a creative and experimental approach within the reality of a commercial environment. I then went on to work as an in-house glass designer for Edinburgh Crystal until 2006, when the business closed. I continue to work on a freelance basis as a glass designer for industry; this collaboration informs and influences my studio work in a unique and innovative way. I set up Jessamy Kelly Glass in 2002 and a second company called Juo Ltd in 2006 with glass designer Joanne Mitchell. I also work as a freelance industrial glass designer; this collaboration with industry helps to inform my creative practice. In 2009, I completed a practice-based PhD at the University of Sunderland that focused on the combination of glass and ceramics in studio practice. After the completion of my PhD, I returned to Edinburgh College of Art as an artist in residence, which in a way led me full circle back to the educational institution that initially brought me to Scotland. It was an honour to take part in this residency programme which helped me to further develop my artistic practice.

Anyway back to what brought me to Scotland, after graduating I worked at Edinburgh Crystal as an in-house glass designer for 4 years, until the factory closed after a major fire in 2006. Initially, I was rather anxious that, as a designer, I would be handing over the actual hands on contact and making elements of the work, but in fact having people in the factory making my designs for me was like having an extra 20 pairs of hands to work with. It gave me the opportunity and freedom to broaden my designs, to research and develop ideas within Edinburgh Crystal’s production facilities, allowing a creative and experimental approach. I learnt a great deal at that time, especially from the craftsmen who created the glass in the factory.

For me, there is still a hidden story in the skilled factory workers of Edinburgh Crystal, the glassblowers, the cutters and the engravers. Their great passion, talent and skill will always remain an inspiration to me; it was such a unique experience. From day one as a young art student going into a factory environment the first lesson I learnt is that you can’t work alone. I can vividly recall sneaking into the factory early with the workers to ensure my work was seen to first. Memories still remain of my time there, arguing with the management, fighting for precious overtime pay for my glassblowers at the weekend to blow my degree show work. Sometimes you might have found me hiding out in store cupboards trying to get some peace from the hectic pace of the factory. My experiences at Edinburgh Crystal were not always easier however I think they influenced and formed my work in a unique and unrepeatable way. The designs I created there and the changes, rises and falls that I experienced in the factory will stay with me forever. I could go on with my anecdotes but the over ruling memory for me was the skilled factory workers, my colleagues, my friends – the true face and craft of Edinburgh Crystal.

It was at Edinburgh Crystal that I met my business partner Joanne Mitchell (also a glass designer) and in 2006 we set up Juo Ltd, creating contemporary fused art glass for galleries and private commissions. We produce a lot of work for public buildings, colourful, specially designed pieces for corporate commissions. We’re both designers as well as glass artists, which gives us a unique insight into the requirements of our customers, interpreting their ideas in a way which will match their budgets. We learnt a lot about the design process and trend forecasting at Edinburgh Crystal, developing cost effective production to meet a definite price point. We design and launch new ranges for Juo every six months. Juo plays an important and successful role as “a practice that supports our further practice,” we wanted an independent brand to create commercial studio pieces with a distinct identity that were focused at specific ‘interior design conscious’ clientele. This allows us both to take an entirely different path with our own studio work. It’s been extremely beneficial as it has enabled us both to work in two very different styles, in parallel. It makes work varied and interesting and it’s good to have a partner to collaborate on projects with (we both have different skills and challenge each other in different ways).

I wear a few different hats, as well as having the dual aspect to my glass work and businesses; I am also involved with a number of organisations and companies. I co-curated the delightindesign exhibition at the Design&Made Gallery in Newcastle and ‘Migrate: 30 Years of Scottish Glass’ for the Scottish Glass Society (SGS) of which I am an active board member and Vice Chair. I am also on the board of the National Glass Centre and the Contemporary Glass Society for whom I work one day a week as their marketing and events coordinator.

I like to describe myself as a designer-maker, working in the two mediums of glass and ceramics; since my undergraduate degree I have worked with both materials in juxtaposition. I gained my BA in Glass and Ceramics at the University of Sunderland in 2001, I was the only person on the course who was permitted to specialise in both ceramics and glass - my current interests have all flowed from there. In February 2009, I completed my doctoral research into the combination of glass and ceramics in a hot state, within studio practice. Glass and ceramics are material with many common qualities; they are both made in similar ways, and transformed into functional objects. But it is their transparency – translucency and their reaction to light which intrigues me. The qualities of the materials when light passes through them to reveal inner luminosity inspires me to combine them and to examine their relationship in my work. My research examined the combination of glass and ceramics in a hot state within my studio practice and offers a potential new route of practice for artists working in glass and ceramics. Renowned for being difficult to combine, glass and ceramics are usually regarded as being incompatible due to differences in structure; through my research I have managed to combine them in a hot state to create a unique series of artworks. Very few artists work in both materials, and whilst my thesis presents substantial, specialist reading, I hope that it will have an impact on future practices for artists working in glass and ceramics.

Based on the handcrafted sensitivity of craft practice; my early work was inspired by organic and naturally repeating forms. Minimal amounts of cutting are used working with the simplicity of the form to create a soft sensitive aesthetic. Diamond cutting and sandblasting machinery is used to sculpt the pieces. My work shows balance, precision and great delicacy. My current work is based on my PhD research, working with the simplicity of cast glass forms which are then set with a pâte de verre and ceramic core at the centre. The forms display a range of translucent and transparent effects.

Onto Juo, which is a design led creative venture; which I run with Joanne Mitchell. We are based at the National Glass Centre, in Sunderland we specialise in the design and manufacture of fused art glass; creating high quality art glass panels for domestic and corporate interiors. We hope to re-invigorate wall art by offering contemporary fused Glass Art as an innovative solution for a design-conscious clientele. From concept to installation we work closely with interior designers, specifiers and architects on bespoke projects. We offer a bespoke design consultancy for industry and private clients, drawing on their specialist design skills and manufacturing knowledge. Clients benefit from our expertise in prototyping, product development and manufacturing and if required outsourcing and supplier liaison. Design projects can be tailored to meet the client’s needs providing strategic reports relating to competitors, market positioning and trend forecasting; with a view to brief origination and the design and manufacture of new products. Working directly with manufacturers to develop product processes, inspires us to create more innovative and interesting designs in their bold and contemporary style. The innovative glass processes we have investigated in design for manufacture have greatly influenced our studio work in concept and technique. Working closely with clients, we design bespoke pieces, appropriate to their specific requirements. We have worked to commission with a wide range of clients over the years.

For my Juo work, I am inspired by forms and textures found in the local landscape, capturing parts of the north east coast to create a series of limited edition wall panels. I cast selected sand drifted textures and stones in plaster which I transform back at the studio into unique and limited edition art works. The inherent transparent nature of fused art glass is an inspiration for me, the evocative way that light passes through the glassy surface intrigues me. The relationship between glass and light is the central theme which I find myself drawn to examine tirelessly in this unique art form. Given that glass is made of sand this work has an immediate link to the physical materials of the coast. The forms come directly from nature inspired by the play of light and dark shadows on a coastal landscape, seen through the subtle interplay of light and colour. My affinity to the NE coast is evident in the echoes of tidal patterns formed in the sand that appear in my work.

My work is not only confined to the practical side of glassmaking, I have also taught introductions to glass and ceramics, held product design workshops and taught engraving and printmaking workshops at the University of Sunderland and at Edinburgh College of Art.  I often deliver lectures about my work to a wide range of audiences. I have won a range of awards for my glass work which include: Outline Student Glass Prize 2001, Edinburgh Crystal Masters Scholarship 2001-2002, Blueprint Business Planning Award: Creative Industries & Overall Winner 2006 and the Craft & Design Selected Maker of the Year Gold award in 2009. I have had my work featured in many national exhibitions in such places ranging from London to Edinburgh and all venues in between. My work has also been exhibited internationally in France, the Czech Republic, the Netherlands and in the United States.

No matter where you live, you’ve probably got a little piece of Sunderland in your home – in the shape of a casserole dish. Pyrex, a revolutionary glassware that became a must-have in kitchens throughout the world, has been manufactured in the city since 1922, following a line of major glass manufacturers that boomed as a result of the cheap coal prices from nearby Newcastle, the excellent shipping links with Europe and the quality sand imported from the Baltic. Sadly, the last gob of glass was be removed from the Pyrex factory’s furnace in September 2007, and Sunderland’s glass making industry came to an end after nearly 300 years.

However, the University of Sunderland’s Art faculty and the adjoining National Glass Centre are keeping the Wearside traditions alive. The Glass and Ceramics Bachelors degree is one of only a handful in the country and is proving an attractive course for artists across the globe.

Jessamy Kelly, who graduated from the course in 2001 is proof of its success. Now a co-director of Juo Ltd, a Sunderland based contemporary fused art glass brand, as well as vice chair & press officer of Scottish Glass Society and events & marketing coordinator Contemporary Glass Society, Jessamy owes a lot of her success in this niche industry to the facilities and tutors at the University.

“When I was looking around for the degree courses I came across the glass and ceramic course at Sunderland and thought it sounded very interesting, especially having never worked with glass before,” Jessamy explains. “The course was brilliant; we got to do everything from turning pots on the wheel to blowing glass. There were students there from all over the place, it’s a world-renowned course and I can see why. The facilities are as good as they get and the experience and passion of the tutors goes a long way.”

After graduating, Jessamy received a scholarship from Edinburgh Crystal and went straight up to the Scottish capital to complete an industrial placement as a student glass designer and was offered a job upon completing the placement. It was here that she met Joanne Mitchell, the other half of Juo’s creative team.

Joanne’s glass making and design skills matched those of Jessamy, and while their individual work had its own identity, they found their influences to be similar and setting up a business together seemed to be an ideal opportunity to collaborate.

“We both realised that at Edinburgh Crystal we didn’t have the creative freedom we felt we needed so we left to start Juo,” explains Jessamy. “Obviously there have been some hard and stressful moments working together but we get on great, so it’s never been a major issue. Artistically our styles compliment each other and we still both have our individuality. Even on the commission projects we get from local businesses we still find we have a lot of creative freedom.”

The dynamic working relationship has led to the company going from strength to strength, and their awards cabinet is filling up fast with accolades including the Blueprint ‘Business Planning Award’ and the Pearson’s Prize for ‘Best use of glass in retail and interior’; Jessamy was also awarded the ‘The craft&design Maker of the Year award’ in 2009. To start up the business they received funding from the Princes Trust ‘Start up Business Award’, NESTA’s ‘Insight Out Business Award’ and Arts Council England’s ‘Cultural Business Award’; which helped them to get the business going.

“We are doing what people in this area have done for hundreds of years and that’s special, especially when you’re hard work is recognised by people in the industry,” says Jessamy. ”We are very skilled artists and I’m proud to be continuing this tradition. What’s even better is that we are pushing things forward and keeping them fresh by always using and developing new techniques.”

Jessamy’s influences are built on her life growing up by the sea in Whitley Bay, 16 miles north of Sunderland, and Juo’s latest collection ‘coast’ is made using casts of rippled sand after the tide has dropped.

Juo’s studio is based in the National Glass Centre – a unique, contemporary building that houses exhibition galleries, artist’s studios and production facilities, a craft & design shop (where you can find pieces of Juo art glass for sale) and an award-winning restaurant. In partnership with the University of Sunderland the centre delivers a programme of changing exhibitions, education workshops and events for schools, families, adults and children – all of which are of huge benefit to the local community, says Jessamy: “We are surrounded by a big community of artists at the Glass Centre. Not only is it educating the local community on our skills but it’s perfect for art students who become part of the growing community of like-minded people.”

The Sunderland area is blossoming with talented artists, Jessamy plans to keep the business in the area, not only because she loves it but also because of the business opportunity it provides.

“The North East has attracted some very skilled creative people thanks to its wealth of courses and generous funding initiatives. A lot of our networks are here and we’re all very well supported. Being a reasonably small area there are a lot of word of mouth sales that we would miss out on anywhere else.”

Jessamy has recently completed a PhD in Glass and Ceramics at the University and hopes Juo will continue to thrive and allow them to keep the Wearside glass making heritage alive.

How did the concept of Juo come about?

We originally met in 2001, when we were both working at Edinburgh Crystal as in house glass designers. We both went on to work independently setting up our own art glass practices specialising in hand blown glass. From the very start we felt that there would be a project in the grand scheme of things that would lead us to collaborate. In early 2006, Jessamy was approached by Alan Elliot from iii.uk a UK sales agency for the renowned Swedish Art Glass brands Orrefors & Kosta Boda. Jessamy had previously worked with Alan on a design competition and they had stayed in touch. Keen to work with proven British design talent, Alan saw the market potential of contemporary fused glass, a high end market which he wanted to move into. This was the project we had been waiting for, iii.uk have supported and represented us ever since; developing key retail accounts throughout the UK. In reflection all of these events have influenced and formed the concept of Juo, fused with a driving force based on creativity and collaboration. The entrepreneurial relationship we have fostered since our first meeting has been a rewarding and successful one, driven by our shared enthusiasm for art glass, our chosen medium of expression.

What inspires you?

We are both inspired by the intrinsic beauty of glass and the evocative way that light passes through the transparent and colourful surfaces. We draws Inspiration from many sources such as the organic forms and textures of the local landscape: the detail in sand drifts, rock formations and melting ice, the drama of the evening sky at sunset and sunrise, or natural found objects from a walk in the countryside. We create serial runs of limited edition wall panels, refreshing the ranges and bringing out new shapes and designs every season.

When Jessamy created Coast she carefully selected sand drifted textures from the north east coastline, which she cast in solid plaster and transformed into unique art glass pieces back at the studio. Given that glass is made of sand this work has an immediate link to the physicality of the coast. The drifting forms come directly from nature inspired by the play of light and dark shadows on a coastal landscape, seen through the subtle interplay of light and colour. The ethereal, dream like quality the glass casts as projected light onto the wall, describes a visual submergence into deep turquoise and clear waters. Evoking an unbound sensation of floating beneath the surface of the sea, as light ebbs and breaks with the tide.

In Glacier, Joanne captures the beauty of ice formations and snow-filled ravines found within glacial landscapes. The clear transparency of the glass reflects light, evoking the purity of ice as it melts. Expressing the transformation of thawing winter, the work aims to convey the transient nature of the seasons. The limited edition wall pieces are made in single or interrelated triptychs; each is unique and signed by the artist. Joanne’s artworks combine understated yet striking shapes and textures, examining the tactility and sensuality of the material. She is also interested in themes around urban nature, life cycles and recollection of past memories.

Do you have a favourite piece to date?

‘My feelings about a piece often change as I can get bored quite quickly! Of my own designs I’m fond of ‘Horizon’ at the moment. Of Jess’s designs I love ‘Coast’.’ (Joanne Mitchell)

‘For me there’s always a new piece in my mind that I am searching for that could be my new favourite. There are however key pieces in the range that are just irreplaceable and have an essential vitality. The resonance of ‘Glacier’ and the calm exuded by ‘Coast’ are my favourites so far!’ (Jessamy Kelly)

What is ‘fused’ glass? 

Fused glass is an artistic studio technique, which involves the process of bonding and shaping layers of glass (usually in or over a mould) by heating in a kiln. The unique processing involved in the creation of her work is driven by the hand crafted sensitivity of craft practice. The studio techniques they use enable the production of infinite shapes and colour variations; each piece is handmade by the designers and is individually signed and dated. 

 Are you from the North East originally and why have you chosen to base your business here?

‘Joanne grew up in County Durham in a small village called Kirk Merrington until the family moved to West Yorkshire when she was 13. She chose to move back to the North East when she first set up in business as a glass artist in 2003, partly because of her affection for the area and the quality of life and also because of the unrivalled facilities and support network that were available in the area provide through the Cohesion Glassmakers’ Network and the National Glass Centre.’

‘Jessamy is originally from Whitley Bay and has always lived within minutes of the beach, which is such an important part of her life, she runs, walks and thinks there! She splits her time between the North East and Edinburgh, travelling down to the studio during the week and spending her weekends up in Scotland. The North east is definitely home for Jessamy with a mix of family, friends and colleagues that make up a rich support network for her.’

The National Glass Centre, in Sunderland was an ideal location to base Juo because Jessamy was studying there part time towards a PhD and Joanne’s business was well established there, it was accessible and practical for us both.’

 Do you and Joanne compliment or contradict each other artistically?

‘We’ve always had similar thought processes design-wise –we’re drawn to and inspired by the same things so it’s great when we get the chance to sit down together and develop our ideas. Whether we’re visiting a design show or art gallery together we will enthuse together. I would say that we generally compliment each other; however there are certain elements which could be seen as a contradiction that can create a real contrast in our work. We each have our individual styles and interpretations that come through the work in a unique way.’

Who do you admire artistically?

‘Joanne is inspired by the work of photographers Edward Weston and Thierry Le Gouès, she greatly admires the post-war Scandinavian designers Nils Landberg, Tapio Wirkkala and Timo Sarpaneva. The breadth of contemporary designer Marc Newson’s design ability is a real inspiration; and since first painting with oils at school she has been in awe of Caravaggio.’ 

Where would you like to see Juo in ten years? 

We have a vision for art glass to be regarded as a unique medium for artistic expression, that is seen as a lifestyle statement and art investment, not just an everyday functional product. We hope to work on many more high profile installation pieces for public and private commissions, the process of creating bespoke work is a really stimulating one. We envisage that Juo will continue to grow as a leading edge art glass brand, who will innovate and reinvigorate contemporary interiors throughout the UK and beyond. We are proud to be celebrating our 2^nd year in business and are looking forwards to the many years ahead of creativity and innovation.

The CGS is deeply disappointed to hear today that it has not been selected as one of the Arts Council’s National Portfolio Organisations and therefore has lost all its funding from Arts Council England (ACE).

Since its beginning in 1997, the CGS has grown from an organisation of just 150 members to one with nearly 700.  It provides vital services for the glass community, connecting and sustaining its members through its website, publication, mentoring programmes, exhibitions and conferences.  They have gone for strength to strength, and this is in part due to the financial stability that being one of Arts Council England’s regularly funded organisations gave them.

The CGS is the largest network of glass makers in the UK, with a dynamic and involved membership and committed management team, so despite this setback they are in a strong position to face the future. There is no doubt, however, that cuts will mean painful change for CGS. Their priority at the moment will be to maintain core services, and they will be looking for other sources of funding, including Arts Council England’s Grants for the Arts, for which they are still eligible. 

ACE has had to make some difficult decisions this year, but cutting £50,000 from CGS seems short-sighted and plainly wrong. In a climate where skills based University courses close every year, and industry of all kinds have as good as disappeared, the CGS is the UK’s most significant organisation promoting Contemporary Glass making and makers to the world.  It plays a crucial role in the safeguarding of ancient skills in contemporary arts, and it delivers incredible value for money with its resource and information rich website, its quarterly publication, professional development schemes and internationally important exhibitions and conferences. 

The CGS will weather this storm, and is already looking to the future, but a future in which the government seriously fails to provide their arts and heritage with support that they need.

For further press information or images please contact: Jessamy Kelly: +44 (0)7950627264 or Pam Reekie admin@cgs.org.uk  01379741120

Jessamy Kelly

Marketing & Events Coordinator

Contemporary Glass Society (CGS)

c/o Broadfield House Glass museum

Comton Drive, Kindswinford

West Midlands, DY6 9NS

+44(0)1379 741120

Oh scary, scary!!  I’ve just got back from my first ever radio interview and over half an hour later I am still feeling totally wired by the whole experience.  The interview was to talk about my glass work and my courses and was with Geoff of Phoenix Radio, a local radio station in Calderdale.   I was totally prepared in terms of questions and answers for the topics I wanted to talk about but it was still  really scary doing it all live on air.  

What a busy week I’ve had - the radio interview was just one of many things over the last few days.  Last week was the BCTF in Harrogate which was good to do with lots of great feedback on my work, but so, so tiring.  I had Wednesday to recover before heading back to the day job for a 2 day stint before the weekend.  No rest here though as I had a stained glass course on the Saturday which turned out to be a really great day.  Just the one student, Anthea, but she came prepared with lots of sketches of the sort of thing she wanted to produce, the size of the window to be filled and her inspiration had come from the photographs on my website of my own front door.  And to top it all she had arrived with a supply of home-made cup-cakes.   A brilliant day and we had lunch in the garden as it was such a sunny day.

Sunday was supposed to be a day of running for me as I am getting really behind on my marathon training, but the 16 miles didn’t happen.  Instead I spent most of the day updating my website with all the activities planned for the Craft & Design Month of May in preparation for the radio interview today.   It’s amazing how what you think is going to be a quick activity turns out to be most of the day!

And as if I don’t already have tons to keep me busy, the Stainland Lions beginners course starts today so much of this morning (after a quick trip to gymnastics with Zachary) was spent getting all the final bits and pieces ready for the start of this evening - oh why did I volunteer to be the beginners captain this year when I knew I was already really busy!

And then tomorrow it’s back to the day job which is a day trip to London, meaning a very early start and a late finish and being totally knackered -well more than I already am if that is possible!

But some good news - by some total miracle that I am not going to question, I actually passed my grade 8 piano exam!  It’s only taken me 6 years since I restarted lessons (plus the 19 years since I originally passed grade 7) and despite having a total breakdown in all 3 pieces I have passed.  I should feel pleased but it was such a disaster of an exam I don’t feel that I’ve finished on a high.  When I mentioned to my piano teacher that I was considering re-sitting it, she sounded a bit horrified - I think I’ve stressed her out enough over the past few months.

At least I have Wednesday afternoon free, so I will try and do some running and maybe even have a rest.  Thursday afternoon is going to be good though - I have my first session with a life coach followed by a business mentoring session with Calderdale council.  These should both be great for keeping me highly motivated and making sure that I am doing all the right things to make sure that my glass efforts are a success. 

And then that takes me to the weekend when I have my next course - 2 days of fused glass with 3 excited people - hooray!

Should you be interested in attending one of my courses please don’t hesitate to get in touch