Exhibition ‘Inspired by William Morris’
Online gallery
We invite all Members to create a 30cm square exhibition panel in response to the theme Inspired by William Morris. 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 can interpreted the theme in any way you choose. We are hoping for a wide range of work that reflects William Morris’ 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.
We have commissioned a new display stand sponsored by Morris & Co to showcase 24 exhibits. A panel of experts from the Master Glass Painters, Sanderson and the The Stained Glass Museum made an initial selection of panels for the touring exhibition.
All panels for the tour MUST fit within an aluminium opening exactly 30cm square and 15mm deep. We recommend all panels, including fused glass, are made with a 12mm edge lead that can be trimmed to 297mm x 297mm if necessary. All work on tour is for sale and should be priced to include a 40% commission fee. We will change the panels on display periodically and sold work will leave the exhibition so there will be an opportunity for other panels to be displayed. There is a £30 selection fee to enter the tour. Please email portfolio@bsmgp.org.uk if you would like your panel to be considered for venues.
The exhibition launched at the International Festival of Glass in Stourbridge 23-26 August 2024 and then moved to the Stained Glass Museum in Ely. It is currently on display at the stunning Rochdale Town Hall where it will be open to the public until mid February 2025. 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.
Eryl Holt 'Let Us Go Hand In Hand'
Leaded, cemented, polished English Antique Glass, silk screen printed and painted with kiln fired glass paint. "The composition is inspired by Morris’s Trellis wallpaper design of 1862 – blank spaces interspersed with colourful worked squares used as a frame to bring together the concept for the work. "I am going your way, so let us go hand in hand. You help me and I'll help you. We shall not be here very long ... so let us help one another while we may." This plea from William Morris, our original Eco Warrior, is quietly echoed in the Icelandic translation, runes and icons that can be found in the paintwork and glass textures that surround the centrepiece of interlaced representations of Arctic and Antarctic endangered species."
Leaded, cemented, polished English Antique Glass, silk screen printed and painted with kiln fired glass paint. "The composition is inspired by Morris’s Trellis wallpaper design of 1862 – blank spaces interspersed with colourful worked squares used as a frame to bring together the concept for the work. "I am going your way, so let us go hand in hand. You help me and I'll help you. We shall not be here very long ... so let us help one another while we may." This plea from William Morris, our original Eco Warrior, is quietly echoed in the Icelandic translation, runes and icons that can be found in the paintwork and glass textures that surround the centrepiece of interlaced representations of Arctic and Antarctic endangered species."
Ruth Taylor Jacobson 'Hunted'
Antique Glass, painted and fired. "A deer cries out. Enmeshed in tangled nets of hatred, hunted down by ferocious beasts. Malevolent gargoyles snap and grimace beneath. A vine sends deep roots into the earth, and its tendrils uncoil upwards - opening into tender green leaves of hope. A metaphor for the relentless demonisation and persecution of the Jewish people for over two millennia and continuing to this day. Inspired by William Morris’s love of medieval art; the entwining vines bordering the pages in his books, and his passionate campaigning for social and economic justice for all workers, regardless of creed and colour."
Antique Glass, painted and fired. "A deer cries out. Enmeshed in tangled nets of hatred, hunted down by ferocious beasts. Malevolent gargoyles snap and grimace beneath. A vine sends deep roots into the earth, and its tendrils uncoil upwards - opening into tender green leaves of hope. A metaphor for the relentless demonisation and persecution of the Jewish people for over two millennia and continuing to this day. Inspired by William Morris’s love of medieval art; the entwining vines bordering the pages in his books, and his passionate campaigning for social and economic justice for all workers, regardless of creed and colour."
Zoë Henderson 'Blue Verdant'
Painted and leaded glass. "Like William Morris, I observe the natural world as a basis for my designs; botanical themes dominate my stained glass work. William Morris didn’t believe it was possible or desirable to replicate nature literally so recreated in his own style. I have taken inspiration from a small element of William Morris’s Persian Floral Design. Like nature, this piece ‘grew’ - in to something new, not literal - mixing traditional techniques with modern, different artistic influences, glass qualities as well as adding my own style to create this panel."
Painted and leaded glass. "Like William Morris, I observe the natural world as a basis for my designs; botanical themes dominate my stained glass work. William Morris didn’t believe it was possible or desirable to replicate nature literally so recreated in his own style. I have taken inspiration from a small element of William Morris’s Persian Floral Design. Like nature, this piece ‘grew’ - in to something new, not literal - mixing traditional techniques with modern, different artistic influences, glass qualities as well as adding my own style to create this panel."
June Kingsbury 'Of the Forest'
Painted and fired leaded stained glass. "Clouds in the sky. On the forest floor, fallen leaves, acorns, beetles. A shooting star of dreams up to small birds gathering poetry to build a nest in the trees. Four blue specked eggs. In the centre, a standing figure, part human, part of the forest."
Painted and fired leaded stained glass. "Clouds in the sky. On the forest floor, fallen leaves, acorns, beetles. A shooting star of dreams up to small birds gathering poetry to build a nest in the trees. Four blue specked eggs. In the centre, a standing figure, part human, part of the forest."
Kate Henderson 'The Offering'
Painted and stained antique glass. "The hands symbolise and pay tribute to the skill of the craftsperson, they protect the stylized architecture which represents Morris’s work in establishing the Society for the Protection of Ancient Buildings which is still going strong today. The phrase “Not on one strand are all life’s Jewels strung” is penned by Morris and I feel so relevant in current society."
Painted and stained antique glass. "The hands symbolise and pay tribute to the skill of the craftsperson, they protect the stylized architecture which represents Morris’s work in establishing the Society for the Protection of Ancient Buildings which is still going strong today. The phrase “Not on one strand are all life’s Jewels strung” is penned by Morris and I feel so relevant in current society."
Penelope Jane Ross 'Woman With Falcon'
A leaded panel, painted and enamelled antique glass, handmade fused glass elements, textured on plaster, and experiments with paint and fusing glass with additional paintwork on top. "Medieval tales of romance and chivalry, beautifully executed design and pattern, and an emphasis on craft, are what come to the fore when I think of William Morris. This is my personal response, from the central drawing, to the experimental hand crafted jewel-like patterns that make up the final frame."
A leaded panel, painted and enamelled antique glass, handmade fused glass elements, textured on plaster, and experiments with paint and fusing glass with additional paintwork on top. "Medieval tales of romance and chivalry, beautifully executed design and pattern, and an emphasis on craft, are what come to the fore when I think of William Morris. This is my personal response, from the central drawing, to the experimental hand crafted jewel-like patterns that make up the final frame."
Min Edmonds 'William, William'
Painted, stained and printed glass, leaded. "The inspiration for this panel comes from the beautiful William Morris window designs which portray musicians and floral motifs. I have utilised this style to create a modern piece depicting a contemporary musician (Morrissey) and incorporating his lyrics for a playful tribute to William Morris."
Painted, stained and printed glass, leaded. "The inspiration for this panel comes from the beautiful William Morris window designs which portray musicians and floral motifs. I have utilised this style to create a modern piece depicting a contemporary musician (Morrissey) and incorporating his lyrics for a playful tribute to William Morris."
Andrew Blood 'It's an Irony!'
Inspired by Dalle de verre, miniaturised, using relief casting techniques to emulate faceting. Resin bonding, along with fusing and painting. "Inspired by the musings of William Morris in the Victorian ‘Commonweal’ Newspaper. In much the same way as locomotives represented the beastly industrialisation of Morris’ traditional England, ‘Irony’ applies the post-modern Dalle de verre technique to the Commonweal. This piece contrasts Morris’ literary longing for the ‘old England’ with a contemporary French glasswork technique, highlighting the duality of modern art."
Inspired by Dalle de verre, miniaturised, using relief casting techniques to emulate faceting. Resin bonding, along with fusing and painting. "Inspired by the musings of William Morris in the Victorian ‘Commonweal’ Newspaper. In much the same way as locomotives represented the beastly industrialisation of Morris’ traditional England, ‘Irony’ applies the post-modern Dalle de verre technique to the Commonweal. This piece contrasts Morris’ literary longing for the ‘old England’ with a contemporary French glasswork technique, highlighting the duality of modern art."
Linda White 'Morning Glory Climbing Trellis'
Stained glass, lead and copper foil combined with hand painted flowers and leaves. "I was inspired by the textile archives, some designs in the archive are incomplete, which was my start point for this original textile design. The central design is detailed and the repeat pattern fades out to a sketched suggestion of how the repeat pattern will look."
Stained glass, lead and copper foil combined with hand painted flowers and leaves. "I was inspired by the textile archives, some designs in the archive are incomplete, which was my start point for this original textile design. The central design is detailed and the repeat pattern fades out to a sketched suggestion of how the repeat pattern will look."
James Cockerill 'Volcano'
Screen print and UV sandblast resist with Antique glass. "This panel captures the essence of Icelandic sagas of which Morris was so fond with its depiction of an erupting volcano, symbolising tales of exploring unknown lands and revealing the raw power of Mother Nature. The intricate design and vibrant colours reflect Morris's nature-inspired artistry, the use of print and UV sandblast resist with Antique glass showcases traditional materials and modern techniques."
Screen print and UV sandblast resist with Antique glass. "This panel captures the essence of Icelandic sagas of which Morris was so fond with its depiction of an erupting volcano, symbolising tales of exploring unknown lands and revealing the raw power of Mother Nature. The intricate design and vibrant colours reflect Morris's nature-inspired artistry, the use of print and UV sandblast resist with Antique glass showcases traditional materials and modern techniques."
Jacque Pavlosky 'William Morris’
Fused glass powder on an opaque glass sheet, manipulated with brushes and a porcupine quill. "For the viewer, the image of the human face holds an irresistible magnetism. One is confronted by the presence of the person depicted, and is drawn willingly or unwillingly into their world. Our faces reflect who we are, the lives we’ve led and the thoughts we hold. William Morris’s portrait does all of these things, his intensity and work ethic are writ in visible form in his gaze."
Fused glass powder on an opaque glass sheet, manipulated with brushes and a porcupine quill. "For the viewer, the image of the human face holds an irresistible magnetism. One is confronted by the presence of the person depicted, and is drawn willingly or unwillingly into their world. Our faces reflect who we are, the lives we’ve led and the thoughts we hold. William Morris’s portrait does all of these things, his intensity and work ethic are writ in visible form in his gaze."
Zoe Angle 'Steps Forward'
Glass paint, printed and fired onto glass. Leaded panel. "While researching William Morris I discovered Joyce Clissord and Footprints workshop, a community of female artists founded on Arts and Crafts principles in the 1920’s. They worked in Hammersmith, creating textiles using hand block printing. This piece uses positive and negative block printing in glass paint, exploring repeat patterns. The glass colours reference dyes found on the pages of the Footprints recipe book."
Glass paint, printed and fired onto glass. Leaded panel. "While researching William Morris I discovered Joyce Clissord and Footprints workshop, a community of female artists founded on Arts and Crafts principles in the 1920’s. They worked in Hammersmith, creating textiles using hand block printing. This piece uses positive and negative block printing in glass paint, exploring repeat patterns. The glass colours reference dyes found on the pages of the Footprints recipe book."
Min Edmonds 'I Am a Cliché'
Painted, stained and printed glass, leaded. "I have always loved the William Morris quote “Have nothing in your houses that you do not know to be useful or believe to be beautiful.” I have combined this with the punk aesthetic of feminism, particularly that of Poly Styrene (lead singer of X-Ray Spex), and the desire to be so much more than beautiful."
Painted, stained and printed glass, leaded. "I have always loved the William Morris quote “Have nothing in your houses that you do not know to be useful or believe to be beautiful.” I have combined this with the punk aesthetic of feminism, particularly that of Poly Styrene (lead singer of X-Ray Spex), and the desire to be so much more than beautiful."
Wendy Newhofer 'Pears and Palms'
Kilnformed float glass with inclusions of copper and silver leaf, foil and wire. "William Morris’s designs were distinctively flat and stylised, akin to Japanese wood block designs. He actually used pear wood blocks to handprint his wallpaper and I have developed his techniques by making a playful juxtaposition of these blocks with palm leaves, unlike the native species that he would have portrayed."
Kilnformed float glass with inclusions of copper and silver leaf, foil and wire. "William Morris’s designs were distinctively flat and stylised, akin to Japanese wood block designs. He actually used pear wood blocks to handprint his wallpaper and I have developed his techniques by making a playful juxtaposition of these blocks with palm leaves, unlike the native species that he would have portrayed."
Jane Carpenter 'Beneath the Surface'
Traditional painting and silver stain with fusing and dichroic glass. "Inspired by the peacocks from the William Morris exhibition poster. Beautiful, vain, self-centered. The heads form a perfect heart. With experimental back painting on luminescent glass with the crumpling heart and dying bird under an iridescent surface. Depicts both love and concern for nature."
Traditional painting and silver stain with fusing and dichroic glass. "Inspired by the peacocks from the William Morris exhibition poster. Beautiful, vain, self-centered. The heads form a perfect heart. With experimental back painting on luminescent glass with the crumpling heart and dying bird under an iridescent surface. Depicts both love and concern for nature."
Caroline Loveys 'St. Dorothy Roses'
Mouth-blown glass and kiln fired glass paint. "Inspired by the roses in the Morris and Co. window in the cloisters of Gloucester Cathedral and the intricate foliage patterns prevalent in their wallpaper and fabric designs. Elements of nature, so important to Morris, are incorporated along with a quote from him that is as apt today as it was in his lifetime."
Mouth-blown glass and kiln fired glass paint. "Inspired by the roses in the Morris and Co. window in the cloisters of Gloucester Cathedral and the intricate foliage patterns prevalent in their wallpaper and fabric designs. Elements of nature, so important to Morris, are incorporated along with a quote from him that is as apt today as it was in his lifetime."
Lorna C Radbourne 'The Golden Egg'
Painted, leaded and copper foiled stained glass with gold leaf and wire detail. "I share William Morris’ passion for Nature, my design includes a pair of wrens, their food, nest and eggs. I used a variety of glass including vintage slab glass re-popularised by Morris. The piece was completed painting a William Morris Vine border design onto a Norman slab. The title follows Morris’ example using the smallest item in the design."
Painted, leaded and copper foiled stained glass with gold leaf and wire detail. "I share William Morris’ passion for Nature, my design includes a pair of wrens, their food, nest and eggs. I used a variety of glass including vintage slab glass re-popularised by Morris. The piece was completed painting a William Morris Vine border design onto a Norman slab. The title follows Morris’ example using the smallest item in the design."
Helen Robinson 'Love is Enough'
Antique glass, sandblasted, paint and silver stain. "Written in 1872, the extract from Morris’s poem resonates more than ever in our modern world. 'Love is enough: though the World be a-waning, / And the woods have no voice but the voice of complaining, / Though the sky be too dark for dim eyes to discover / The gold-cups and daisies fair blooming thereunder…' Love of people and the essence of nature are ultimately the only answer to the problems we face today."
Antique glass, sandblasted, paint and silver stain. "Written in 1872, the extract from Morris’s poem resonates more than ever in our modern world. 'Love is enough: though the World be a-waning, / And the woods have no voice but the voice of complaining, / Though the sky be too dark for dim eyes to discover / The gold-cups and daisies fair blooming thereunder…' Love of people and the essence of nature are ultimately the only answer to the problems we face today."
Jane Littlefield 'Morris Green Man'
Stained glass panel, using Tatra glass and recycled greenhouse glass, painted with kiln fired glass paint, silver stain and translucent enamel. "The Green Man is the custodian of nature and protector of the countryside. A symbol found in many churches, he ties in with Willam Morris’s philosophy that we should embrace the natural world. Morris believed that links with nature were essential to people’s emotional and physical health, especially relevant today as technology overwhelms us and environmental destruction worsens."
Stained glass panel, using Tatra glass and recycled greenhouse glass, painted with kiln fired glass paint, silver stain and translucent enamel. "The Green Man is the custodian of nature and protector of the countryside. A symbol found in many churches, he ties in with Willam Morris’s philosophy that we should embrace the natural world. Morris believed that links with nature were essential to people’s emotional and physical health, especially relevant today as technology overwhelms us and environmental destruction worsens."
Malgorzata Kuffel 'Birth'
Traditionally painted leaded stained glass with fused elements, enhanced with bubble powder. "n the centre of the panel is a unique piece that creates a 3D effect with bubbles. 'Birth' refers to the life of William Morris and the era he lived in i.e. during the Industrial Revolution, a time of increasing poverty and hardship. I refer to the natural process of birth as an essential condition for life and the reality surrounding us, full of adversity and the contrasting aspects of society are reflected in the contrasting colours of the piece. In my opinion, William Morris' work is an inspiration for contemporary artists because through his sensitivity, faith and perseverance, he showed us that beauty is born in the human mind regardless of background."
Traditionally painted leaded stained glass with fused elements, enhanced with bubble powder. "n the centre of the panel is a unique piece that creates a 3D effect with bubbles. 'Birth' refers to the life of William Morris and the era he lived in i.e. during the Industrial Revolution, a time of increasing poverty and hardship. I refer to the natural process of birth as an essential condition for life and the reality surrounding us, full of adversity and the contrasting aspects of society are reflected in the contrasting colours of the piece. In my opinion, William Morris' work is an inspiration for contemporary artists because through his sensitivity, faith and perseverance, he showed us that beauty is born in the human mind regardless of background."
Annie Ross 'Caught in the Act'
Traditional painted and leaded glass with etched strawberry shape, red on white. "Inspiration came from Morris’s design which is SO popular. I just wanted to give a different humorous take on it. Morris is not someone I would traditionally go to for inspiration so this was a deviation for me! Nevertheless there is much to find of interest in his work and it threw open new doors."
Traditional painted and leaded glass with etched strawberry shape, red on white. "Inspiration came from Morris’s design which is SO popular. I just wanted to give a different humorous take on it. Morris is not someone I would traditionally go to for inspiration so this was a deviation for me! Nevertheless there is much to find of interest in his work and it threw open new doors."