Exhibition ‘Inspired by William Morris’
Online gallery
We invite all Members to create an exhibition panel measuring 30cm x 30cm. Your panel can be made with traditional stained glass techniques or with contemporary and experimental methods. We look forward to seeing your work, whether you are a professional, an enthusiast or a novice. If you are not already a Member you can join here to enter.
All work should be new and made in response to the theme Inspired by William Morris, interpreted in any way you choose. We are hoping for a wide range of work that reflects his varied creative, social and intellectual achievements. You can watch a free webinar that launched the project here. Stained glass is an art form that takes time and thought to create. By studying the past we can look at the craft afresh and communicate it to a modern audience. We would like this exhibition to help inspire a new generation of people to work with stained glass and commission it for public buildings and homes as William Morris succeed in doing.
Entry to the online exhibition is free and work can be added until December 2025. You can submit up to three panels for the online exhibition by sending a high-resolution image to portfolio@bsmgp.org.uk. You must include your name, title, medium/techniques and up to 60 words about your piece. Please state whether or not you wish to be considered for the showcase exhibition.
Up to 30 panels will be selected by a panel of experts and exhibited in a new display stand sponsored by Sanderson, who hold the Morris & Co. archive. All work for the touring exhibition should be for sale and include a 40% commission fee. Sold work will leave the exhibition and there will be an opportunity for other panels to be displayed. We look forward to showcasing an exciting exhibition.
The deadline for submissions for the initial phase of the touring exhibition has been extended to 14 July 2024. There is a £30 selection fee to enter. Selected panels will need to be delivered to Wells or Stourbridge by the middle of August.
The exhibition will launch at the International Festival of Glass in Stourbridge 23-26 August 2024 and then move to the Stained Glass Museum in Ely until the end of October. More venues may be announced later.
Enjoy the online exhibition. Just click on the image to scroll through the panels. We will add more as they are submitted.
Rachel Phillips 'Embodied Dreams'
Painted, stained and enamelled stained glass. "In a jewel-like field of Morris-inspired landscape populated with lush flora and fruit-laden trees, personifications of 'Work' and 'Dreams' hold a banner with some of his words 'My work is the embodiment of dreams in one form or another', symbolising the importance of combining thought and action in creativity and life, and the promise of joy to be found when 'faith becomes flesh'."
Painted, stained and enamelled stained glass. "In a jewel-like field of Morris-inspired landscape populated with lush flora and fruit-laden trees, personifications of 'Work' and 'Dreams' hold a banner with some of his words 'My work is the embodiment of dreams in one form or another', symbolising the importance of combining thought and action in creativity and life, and the promise of joy to be found when 'faith becomes flesh'."
Grace Ayson 'I Am'
Acid etched blue flash glass, hand painted, silver stained, kiln fired and plated. "William Morris’ poem ‘Day’ focuses on the duality of life and death and reflects the Victorian era’s fascination with mortality and the passage of time. The words of the poem are set within a backdrop of the acanthus leaf, often used in William Morris’s decorative designs, and a symbol of immortality and enduring life."
Acid etched blue flash glass, hand painted, silver stained, kiln fired and plated. "William Morris’ poem ‘Day’ focuses on the duality of life and death and reflects the Victorian era’s fascination with mortality and the passage of time. The words of the poem are set within a backdrop of the acanthus leaf, often used in William Morris’s decorative designs, and a symbol of immortality and enduring life."
Alison Smith (Lunar Glass) 'Study of Vine'
Fused glass using powders, frits and cut bullseye glass, painted with enamels and Reusche stained glass paint. "A study of a section of the vine wallpaper design in a vibrant mix of greens, with kiln formed grapes to add a three dimensional effect."
Fused glass using powders, frits and cut bullseye glass, painted with enamels and Reusche stained glass paint. "A study of a section of the vine wallpaper design in a vibrant mix of greens, with kiln formed grapes to add a three dimensional effect."
Thomas Woodman-Povey 'Anatomy of a Strawberry Thief'
Painted glass, silver stain, and lead. "Inspired by the mystery of the strawberry thief, my work explores the bond between artist and nature. Did William Morris truly mind sharing his berries? Perhaps he cherished those stolen moments, delighting in the bird’s visits. My window ponders these silent connections, celebrating the whimsical interplay of life, art, and nature's quiet wonders."
Painted glass, silver stain, and lead. "Inspired by the mystery of the strawberry thief, my work explores the bond between artist and nature. Did William Morris truly mind sharing his berries? Perhaps he cherished those stolen moments, delighting in the bird’s visits. My window ponders these silent connections, celebrating the whimsical interplay of life, art, and nature's quiet wonders."
Claire Orme 'Underwater Acanthus'
Tatra glass, fish eye lenses, painted and leaded. "Inspired by one of Morris’s most iconic patterns ‘Acanthus’, this design reconsiders the layering, curves and scrolling foliage - and takes it underwater. Morris foresaw the catastrophic effects of industrialisation, and would very likely be outraged by the devastation caused by oceanbound raw sewage and agricultural run-off."
Tatra glass, fish eye lenses, painted and leaded. "Inspired by one of Morris’s most iconic patterns ‘Acanthus’, this design reconsiders the layering, curves and scrolling foliage - and takes it underwater. Morris foresaw the catastrophic effects of industrialisation, and would very likely be outraged by the devastation caused by oceanbound raw sewage and agricultural run-off."
Shona McInnes 'Rockpool Raider'
Acid etched antique glass, paint, enamel, glass pebbles. "What flora, fauna and colours might have inspired Morris if he lived today in the north of Scotland? I think he would have been aware of our endangered shoreline habitats: eroding dunes; loss of native plants; seaweed affected by tidal changes and a widespread decline in wading birds. With this in mind, I was inspired to re-imagine ‘The Strawberry Thief ‘. The focal plant is now a sea holly, the symmetrical birds are endangered knots and the background foliage includes seaweed, marram grass and the tiny Primula Scotica."
Acid etched antique glass, paint, enamel, glass pebbles. "What flora, fauna and colours might have inspired Morris if he lived today in the north of Scotland? I think he would have been aware of our endangered shoreline habitats: eroding dunes; loss of native plants; seaweed affected by tidal changes and a widespread decline in wading birds. With this in mind, I was inspired to re-imagine ‘The Strawberry Thief ‘. The focal plant is now a sea holly, the symmetrical birds are endangered knots and the background foliage includes seaweed, marram grass and the tiny Primula Scotica."
Piotr Frac 'Natsu (Summer)'
Glass painted, enamelled, fused, bonded, plated, framed. "Flowers bloom on her skin / Blurred streets fade behind / Mystery summer night unfolds."
Glass painted, enamelled, fused, bonded, plated, framed. "Flowers bloom on her skin / Blurred streets fade behind / Mystery summer night unfolds."
Nicola Kantorowicz 'Water’s Edge'
Antique glass, acid etched, painted and leaded. "In the water meadows at Kelmscott, the Agagallis Arvensis still grows. A small orange wildflower, now endangered due to the overuse of pesticides. A circle representing the globe is intersected by the curve of the water's edge, symbolising the Thames and reminiscent of the flowing lines found in many of Morris’s patterns. Seed heads and wild grasses drift across the landscape."
Antique glass, acid etched, painted and leaded. "In the water meadows at Kelmscott, the Agagallis Arvensis still grows. A small orange wildflower, now endangered due to the overuse of pesticides. A circle representing the globe is intersected by the curve of the water's edge, symbolising the Thames and reminiscent of the flowing lines found in many of Morris’s patterns. Seed heads and wild grasses drift across the landscape."
Patricia Roberts 'Tribute to Topsy'
Wissmach and float glass painted and enamelled, leaded and water gilded on the reverse with gold leaf. "To a 1950s child, design meant strong colours and geometric shapes, anything Victorian rejected, but a decade later Ken Russell's films helped spark a revival of interest in William Morris. His work came fresh to a new generation and his designs were what they chose for their homes. My panel reworks some of my favourite Morris images."
Wissmach and float glass painted and enamelled, leaded and water gilded on the reverse with gold leaf. "To a 1950s child, design meant strong colours and geometric shapes, anything Victorian rejected, but a decade later Ken Russell's films helped spark a revival of interest in William Morris. His work came fresh to a new generation and his designs were what they chose for their homes. My panel reworks some of my favourite Morris images."
Jill Fordham 'William Morris, the Red Rebel'
Fusing, oceanside, flash and float glass decorated with frits, pigment, silver stain and etched. "Morris wrote 'When our green fields and clear waters... are turned... to dirt... let us eat and drink, for tomorrow we die – choked by filth'. His joyful designs and mythological characters expressed his opposition against the exploitation and pollution of industrialisation. Today XR's "Red Rebels," representing our common life-blood, look so similar and make the same urgent protest."
Fusing, oceanside, flash and float glass decorated with frits, pigment, silver stain and etched. "Morris wrote 'When our green fields and clear waters... are turned... to dirt... let us eat and drink, for tomorrow we die – choked by filth'. His joyful designs and mythological characters expressed his opposition against the exploitation and pollution of industrialisation. Today XR's "Red Rebels," representing our common life-blood, look so similar and make the same urgent protest."
Emma Butler-Cole Aiken 'Monstera'
Painted and leaded antique glass with gold lustre. "William Morris’s wallpaper designs are familiar to me. I appreciate his nature-based sense of pattern and was tempted to replicate a favourite detail. Taking a step back to start with something natural and find my own pattern had more creative integrity, however. I drew Monstera leaves, painting, printing, collaging, selecting and overlapping as I went to create this design."
Painted and leaded antique glass with gold lustre. "William Morris’s wallpaper designs are familiar to me. I appreciate his nature-based sense of pattern and was tempted to replicate a favourite detail. Taking a step back to start with something natural and find my own pattern had more creative integrity, however. I drew Monstera leaves, painting, printing, collaging, selecting and overlapping as I went to create this design."
Rachel Buckley 'Wire Fence'
Painted and leaded glass. "Inspired by Morris’ quote: 'The true secret of happiness lies in taking a genuine interest in all the details of daily life' and his wallpaper pattern ‘Trellis’, My panel is a homage to Splott, east Cardiff, my home for the last 10 years. Like wallpaper, the design can repeat, replacing Morris’ trellis, climbing roses and bluebirds with the beauty and happiness in common details of Splott."
Painted and leaded glass. "Inspired by Morris’ quote: 'The true secret of happiness lies in taking a genuine interest in all the details of daily life' and his wallpaper pattern ‘Trellis’, My panel is a homage to Splott, east Cardiff, my home for the last 10 years. Like wallpaper, the design can repeat, replacing Morris’ trellis, climbing roses and bluebirds with the beauty and happiness in common details of Splott."
Debbie Copley 'Goldfinch and Blue Teasels'
Kiln fired paints and silver stain on Lamberts, Oceanside and float glass. "I was inspired by notes made during the Morris Lecture… ‘that he was a noisy energetic, untidy man who wanted to make the world more beautiful’… and I wrote the word DISRUPTOR which I loved. And so, I made this panel from a tapestry of my hand painted glass samples, using lead as a graphic element and that Lamberts blue to disrupt."
Kiln fired paints and silver stain on Lamberts, Oceanside and float glass. "I was inspired by notes made during the Morris Lecture… ‘that he was a noisy energetic, untidy man who wanted to make the world more beautiful’… and I wrote the word DISRUPTOR which I loved. And so, I made this panel from a tapestry of my hand painted glass samples, using lead as a graphic element and that Lamberts blue to disrupt."
John Preston 'An Ethos for Life'
Painted, fired and leaded glass. "From 'Have nothing that is not beautiful and useful' by William Morris and flipped to positive 'Always . . ' The central image is life's essentials: water, food, shelter and companionship, nestled in Morris style oak and fern leaves and bluebells - as the piece began in the spring - acknowledging the essential connection to nature."
Painted, fired and leaded glass. "From 'Have nothing that is not beautiful and useful' by William Morris and flipped to positive 'Always . . ' The central image is life's essentials: water, food, shelter and companionship, nestled in Morris style oak and fern leaves and bluebells - as the piece began in the spring - acknowledging the essential connection to nature."
Claire Williamson 'Trellis in glass'
Bullseye glass and powders, painted and enamelled with a lead border. "Looking at Morris’s wallpaper designs, I was drawn to his initial sketches, liking the contrast between the simple pencil lines and the fully coloured, detailed areas. I chose his very first wallpaper design as my design base, contour fusing the base glass pieces to give the panel a raised 3D effect to enhance the trellis design."
Bullseye glass and powders, painted and enamelled with a lead border. "Looking at Morris’s wallpaper designs, I was drawn to his initial sketches, liking the contrast between the simple pencil lines and the fully coloured, detailed areas. I chose his very first wallpaper design as my design base, contour fusing the base glass pieces to give the panel a raised 3D effect to enhance the trellis design."
Maggie Beal 'Red List'
English antique glass, engraved, painted and silver stained. "I have taken inspiration from Morris’s familiar ‘Bird’ design and his love of natural forms. I’ve brought it up to date by highlighting some of our endangered species - hawfinches, starfruit, crested cow-wheat and orchids. Using a medium which is now an endangered craft, stained glass seems appropriate."
English antique glass, engraved, painted and silver stained. "I have taken inspiration from Morris’s familiar ‘Bird’ design and his love of natural forms. I’ve brought it up to date by highlighting some of our endangered species - hawfinches, starfruit, crested cow-wheat and orchids. Using a medium which is now an endangered craft, stained glass seems appropriate."
Ruth Kersley 'Wherever Nature Works There Will Be Beauty'
Antique glass, painted and leaded. “William Morris’s quotation inspired this panel - ‘Wherever nature works there will be beauty whether it’s in the Red House Garden or the world outside your window’. It evolved from ink studies of a corner of our garden in Spring. The convolutions of the corkscrew hazel abut black bamboo; the fine leaves of the silver queen pittosporum sparkle in the dappled light and lime green euphorbia are flanked by lilyturf grasses. Morris envisaged the garden as a series of rooms, inseparable from the house, inspired by the jewelled enclosed gardens of medieval manuscripts.”
Antique glass, painted and leaded. “William Morris’s quotation inspired this panel - ‘Wherever nature works there will be beauty whether it’s in the Red House Garden or the world outside your window’. It evolved from ink studies of a corner of our garden in Spring. The convolutions of the corkscrew hazel abut black bamboo; the fine leaves of the silver queen pittosporum sparkle in the dappled light and lime green euphorbia are flanked by lilyturf grasses. Morris envisaged the garden as a series of rooms, inseparable from the house, inspired by the jewelled enclosed gardens of medieval manuscripts.”
Rachel Phillips 'Fy Mlogi - My cabbage'
Engraved, painted and enamelled stained glass. "The acanthus leaf is a favourite motif used by Morris and his circle in various designs, adding movement and depth to embroidery as well as textiles and wallpaper. The leaf has been a symbol of enduring life, immortality, and strength since the 5th century and one that I enjoy using alongside other foliate forms in glass to celebrate colour, form, and texture."
Engraved, painted and enamelled stained glass. "The acanthus leaf is a favourite motif used by Morris and his circle in various designs, adding movement and depth to embroidery as well as textiles and wallpaper. The leaf has been a symbol of enduring life, immortality, and strength since the 5th century and one that I enjoy using alongside other foliate forms in glass to celebrate colour, form, and texture."
Guoda Kvietinskaite 'The Rhythms in Nature'
Engraved and painted on traditional stained glass. "In Victorian times, following the Great Exhibition, the fashion was to showcase exotic and unusual natural forms. William Morris, the forerunner of the Art & Crafts Movement went against this trend, championing common, local flora and fauna. The wildflower dandelion, recognisable to all, represents beautiful simplicity. My artwork interprets this through repeated pattern and the stained glass techniques of engraving and painting."
Engraved and painted on traditional stained glass. "In Victorian times, following the Great Exhibition, the fashion was to showcase exotic and unusual natural forms. William Morris, the forerunner of the Art & Crafts Movement went against this trend, championing common, local flora and fauna. The wildflower dandelion, recognisable to all, represents beautiful simplicity. My artwork interprets this through repeated pattern and the stained glass techniques of engraving and painting."
Jo Turner 'To Earth'
Painted, stained traditional leaded panel using flash glass. "Pomegranate seeds eaten by Persephone bind her to the underworld in Greek mythology, used as a symbol of new life, when in spring she returns to the Earth. Taking words from Morris’ poem ‘Earth the Healer, Earth the Keeper’ stamped into the lead came, the prose written over a hundred years ago still relevant. Peace then!"
Painted, stained traditional leaded panel using flash glass. "Pomegranate seeds eaten by Persephone bind her to the underworld in Greek mythology, used as a symbol of new life, when in spring she returns to the Earth. Taking words from Morris’ poem ‘Earth the Healer, Earth the Keeper’ stamped into the lead came, the prose written over a hundred years ago still relevant. Peace then!"
Elizabeth Porter 'Jane amongst the Honeysuckle'
Fused bullseye glass, enamelled and painted surrounded by a lead border. "Inspired by the connection of William Morris to the Pre-Raphaelites and my interest in the lives of the brotherhood women. A portrait of Jane, his wife/muse and model to Rossetti, sketched by Morris' peers through aspects of the honeysuckle embroidery made by Jane and Jenny Morris, which was based on the original 1876 design by William Morris."
Fused bullseye glass, enamelled and painted surrounded by a lead border. "Inspired by the connection of William Morris to the Pre-Raphaelites and my interest in the lives of the brotherhood women. A portrait of Jane, his wife/muse and model to Rossetti, sketched by Morris' peers through aspects of the honeysuckle embroidery made by Jane and Jenny Morris, which was based on the original 1876 design by William Morris."