To celebrate the Centenary of the British Society of Master Glass Painters, we invited all Members to create an exhibition panel measuring 30cm x 30cm. There was no theme and no restriction on techniques or materials, provided glass was involved.

We selected 60 panels to exhibit in our Centenary Touring Exhibition, which launched in the autumn of 2021 at The Stained Glass Museum in Ely. The two display stands housing the work then visited Winchester Cathedral, All Saints Church, Bristol, the National Waterfront Museum in Swansea, Wells and Worcester Cathedrals, Oxford Cathedral and Lichfield Cathedral. After briefly stopping at the International Festival of Glass in Stourbridge the exhibition reached it’s final venue in Manchester Cathedral and finished in November 2022.

You can watch an ITV news item about the exhibition here.

Enjoy the online exhibition. Just click on the image to scroll through the panels, and there are more on the following pages.

Juliet Forrest 'Holloway'
Fused Spectrum glass, Reusche glass paints. 'Intended as a partner panel to ‘Coral Holloway’ this panel highlights the importance of natural environments closer to home for human well-being. It is vital that we focus efforts on restoring and conserving wildlife here, as well as in the more high profile ecosystems further afield.'
Alison Smith (Lunar Glass) 'Octopus'
Bullseye fused glass, Reusche glass paint. 'My panel is inspired by an octopus I saw in an aquarium in Malta. I found myself fascinated by the way it moved and the curling of its tentacles, and since then I love to paint these intelligent creatures.'
Linda White 'What Lies Beneath'
Coloured and clear glass, painted and leaded. 'This piece is about the things we don’t consider. Dandelions are fully edible, flower, leaf and root. The soil is teeming with life worms, beetles, fungi and many microscopic creatures. Soil is vital to our future, don’t poison it.'
Susan Bradbury 'Flame shells'
Etched and painted French flash. 'I recently learned that there used to be an estimated 250 million flame shells living in the Clyde estuary, until modern fishing methods reduced them to small remnant populations. And I also learned that their name comes from their uncountable tentacles in shades through scarlet to pink.'
Siobhan Rimmer 'Voodoo Lounge'
Painted glass and lead 'This piece is based on the Rolling Stones 'Voodoo Lounge' album cover which features these moving, swaying, dancing creatures. When all else fails, dance.'
Wendy Stone 'Wise words'
Window glass, marker pen, spray paint. 'I wanted to celebrate the centenary with something that is as true then as now. The panel is made of glass strips so the wording disappears when viewed straight on.'
Nathalie Hildegarde Liege 'Are we becoming Medea or the Earth Mother?'
Painted, etched and leaded mouth-blown glass. 'The acid-etched glass was selected from one of many glass off-cut boxes that Jane Gray donnated to my studio in 2020. In 2021, we may build children a brighter future. Suddenly missing the outdoors, the urge to save our planet was so true. Listening to Medea by Euripides and reading about Earth Mother raised a question. Will we be creating and killing or creating and saving?'
Jude Tarrant AMGP 'Names of the Hare'
Painted and silver stained acid etched flashed glass. 'Inspired by our losing our connection to nature. An incantation of respect on meeting one by reciting the seventy seven names of the hare. Translated from a poem in Middle English by Seamus Heaney: ”The stubble-stag, the long lugs, the stook-deer, the frisky legs, the wild one," and so on.'
Peter Berry AMGP 'Little Owl'
Machine made and mouth blown glass, glass paint, silver stain, leaded panel. 'Using glass that I already had, including bark-like Kokomo and streaky EAG, I’ve tried to create a bright, positive-feeling panel. Having a tawny owl sitting in a tree across the road ‘monitoring’ my progress was a plus point!'
Alisoun Howie AMGP 'Lockdown Garden'
Painted and leaded Antique glass. 'Inspired by shapes and patterns in the garden and sunlight falling on a muddle of foliage.'
Pascale Penfold 'Looking Up'
Leaded stained glass, painted and fused glass. 'Looking Up is my response to lockdown. Years ago, during a picnic in a wood in France, I lay down on the mossy ground and looked up. The view is still engraved in my mind and it gives me hope.'
Alisoun Howie AMGP 'Autumnal Garden'
Painted and leaded Antique glass. 'Inspired by sun soaked end of Summer garden fullness.'
Ruth Kersley AMGP ‘Pit Brow Fragments’
Engraved, painted and leaded float, antique and flashed glass. 'I used the last lockdown as an opportunity to experiment with a newly acquired glass engraving tool. These are a few of the many faces I created to depict a mosaic of the unremembered women who toiled long hours for meagre wages at the pit head. This is my tribute to their bravery, their strength and their spirit.'
Helen Robinson AMGP ‘In a Shropshire Hedgerow’
Sandblasted, painted and stained antique glass. 'Celebrating the simple beauty of the countryside around our new home.'
Gwendoline Payne 'Pierrot'
Painted, acid-etched, and leaded, hand blown Lamberts glass. 'This Pierrot is a portrait of Jamie Raskin, the American lawyer who led the impeachment trial against Trump. His is a face, which despite the onerous nature and seriousness of his task, forced me to smile.'
Sophie Hacker 'Lockdown Fragments'
Lamberts flash, etched, painted and stained. 'My panel was inspired by the Winchester Cathedral West Window, which was smashed by Roundheads during the Civil War. The fragments were gathered up and remade into an amazing ‘abstract’. I’ve taken lots of pandemic images and imagined them smashed by the chaos of the year, then gathered up and remade into this panel.'
Brian Canfield 'Beholder's Share: Treasure Mist'
Kokomo Opalescent Glass and mouth-blown glass, painted and leaded. 'This is the first in the series, "The Beholder's Share," the glass art takes one on a journey into a fantastical forest; here is where the artist's ambiguity and the viewers' experiences inform and complete the work.'
Jane Ross 'Contemplation'
Stained glass panel incorporating fused glass, painted and silver stained glass with the use of enamel paints. 'An image of a woman in an abstracted landscape. My preoccupation is with the decorative elements of the landscape, making them work with the figurative aspects. I like experimenting with enamels to get colour combinations on one piece of glass.'
Catherine Day 'Chrysanthemums'
Stained glass panel using English Antique Glass, engraved painted, silver stained and leaded. 'My panel was inspired from a trip to the Gardens of Trewidden in Cornwall. The beauty of the yellow chrysanthemums against the contrast of the greenery and vibrant red butterflies.'
Tamsin Abbott ‘Longing’
Painted English Antique glass & Dremel engraving. 'Inspired by the selkie myths where a seal person cannot return to seal form if their skin has been hidden from them. This was how many of us felt during the lockdowns. We could not see our dearest family and friends and could not travel to those places which had special significance. The pandemic combined with the climate emergency has heightened our emotions and the sense of beauty and precariousness of life.'
Rebecca Bingham 'Fear of Pursuit'
Glass and copper foil with painting and plating. ‘The image grew after hearing of a notorious abduction case around the time I made the panel during lockdown.’
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