Opaque glass surprises
- Sarah specialises in both hot and cold glass processes
- She makes her stencils by hand
- Patterns, colourful imagery and opacity characterise her work
Sarah Wiberley holds a BA degree in 3D Glass Design from the Surrey Institute of Art and Design, and a Masters degree in glass from The Royal College of Art in London. Since 2004 she has worked in various glass workshops, either as part of a larger team or alongside an individual glassblower, gaffer or master. “The teamwork involved in glassblowing means you are always learning from those more experienced than you. I have trained with some of the best glassblowers in the UK,” Sarah says. She now creates her unique objects in her London-based studio and thoroughly enjoys the technical and practical nature of glassmaking, the teamwork involved and the immediacy of working with hot glass.
INTERVIEW
Creating patterns and applying imagery onto glass. My current technique involves precision in design drawing, stencil cutting and sandblasting. I have created and adapted lots of different techniques to apply imagery onto glass including using enamels, printing techniques and engraving.
Most of all I love the feeling when I am completely immersed in my work and ideas. I love creating beautiful objects and expressing myself through these designs; problem-solving to make patterns fit perfectly around an object; working with other glassmakers on technically difficult projects; the speed and adrenalin that go with getting something safely into the kiln.
Often the material is mistaken for ceramics as I use a lot of opaque glass. People are surprised when I tell them I draw the patterns and cut the stencils by hand, they assume I use computer-aided plotters and vinyl cutters.
Yes, I believe so. It is a very small industry with only a few workshops and individuals continuing to produce handmade glass. Glass blowing is a very expensive industry to work in; renewable energy sources or recycling of materials will be needed to sustain it.
