Wonder of Nature
Verity Pulford belongs in nature, and channels this belonging into her distinct approach to glassmaking. She explores this and her wider practice in this Q+A.
How does living in Denbighshire influence your artistic process?
Living in Wales has influenced my practice in fundamental ways. I started to make again after having my children and feeling a deep connection to our local ancient woodland. I wanted to try to capture the layers of woodland plants, the way the light fell through the tree canopy, the forest floor and its riches. When we moved from that area my influences changed to include the mountain where we now live- the different lichens, moss, fungi and ferns which are in our garden and in the wilderness around us. More recently the North Wales coastline has been inspiration for my project Mutualism and I have become fascinated with seaweed, sea creatures and beachcombing for treasures.
What is your favourite glass technique and why?
I love having a few techniques available and being able to combine these can create unique and interesting work. My degree was in architectural glass, and I like to use enamels, painting and other forms of surface decoration. I have studied with some amazing glass artists and have learnt how to create more 3D forms which I also now enjoy. A technique I use a lot is what I call ‘Alternative Pâte-de-Verre’. Which is a way to build shapes, textures and forms in glass without the need for sheet glass. This gives me more freedom and I constantly experiment and play with this technique, pushing its possibilities.
Can you explain the concept of magical realism in your work?
I absorb the forms, textures and colours, sometimes drawing and painting them of the natural world. Sometimes I take photos on my phone. When I’m making, I don’t refer to these generally, I feel an expansion of myself when I am in nature, a sense of wonder and a belonging- it is this experience I am trying to express in my work, not a visual representation.
How do you incorporate scientific imagery into your art?
My first real investigation into using scientific imagery was on residency at The Walton Neurological Hospital in Liverpool. The final piece I created for the main corridor used brain cell imagery and I combined this with natural structures. I was intrigued by the discovery that from the micro to the macro to the infinite- natural patterns and structures are so similar.
I then was awarded Art Council of Wales funding to investigate this further and my project which followed was called ‘Gardens of the Mind’. It was during this project that I developed my Pâte-de-Verre technique, in my newest work ‘Spring’, which is exclusively available with Blowfish Glass Gallery.
Could you talk about the inspiration behind your latest work,’Spring’?
‘Spring’ was inspired by the delicate pink blossoms and verdant new growth of spring. The layers of petals and leaves. Layer upon layer of different organisms, the patterns of growth, the wonder of new life. There are natural, found materials layered within the glass which gives another dimension of texture and colour. The Pâte-de-Verre technique I have developed allows the shapes to be completely organic. To look like the piece has grown naturally. There is a magic to it I feel, a calmness which belies the intricacy. It is hopefully the same feeling we have when beholding a beautiful garden, taking in the detail, a feeling of calm, yet expansive when looking at the whole scene.
How do you choose natural materials for your assemblages?
I really enjoy using natural materials in my work. I am attracted to natural finds like shells, seed heads, nut shells, seaweed, crab shells. I feel this is such a human desire- to collect, beachcomb, to make sacred. The textures and forms of nature are so incredibly complex and interesting- I sometimes wonder why I bother making at all- mother nature cannot be beaten. I love to combine these finds with my glass. I love the aesthetic of cabinets of curiosity- inviting the viewer to decide what is real and what is made.
What role does light play in your glass artworks?
Light in the natural world influences my work in so many ways. The magic light can bring to a landscape, reflecting on water, soft light in the morning and at dusk, creating shadows and silhouettes. Light and the material of glass is so intrinsically linked. I like to use powders which create softness, matt and shiny surfaces to play with reflections. The way cast glass seems to hold light within it, and transmit it is enchanting.
Can you describe an experience that stands out from when you created a public art commission?
I have made several pieces for various hospitals over the last few years. I love this way of sharing my work, it reaches so many people who would never have seen it, and I hope my work provides interest, distraction and maybe even comfort in what could be difficult situations. In Glan Clwyd Hospital one commission was in the Radiology department and I got to engage with the staff and use the X-ray equipment there alongside them. Together we created several x-rays of plants I had gathered. I had them printed on large screens and used them on the windows of the department too. It was my favourite commission because the staff had real input into the work, they felt excitement and ownership and I think this made a real difference to the final impact.
How do you balance teaching with your artistic career?
I love teaching. I need to do it to be able to earn enough, but I would not be without In in my life. It feeds me in a different way, it allows me to see the ways art, and sharing the act of making can heal. It has helped to heal me that is for sure, and I love to share this with others. I teach one or two days a week on average and am in my studio the other days. Being out in the community also helps me connect to others in a way I might not If I was in the studio full time. I feel I have a large network of customers and connections who have encouraged and supported me from the beginning. I have developed many friendships and feel seen and understood. It seems like a lovely balance I have- I love being alone and need this to be calm and content, but I have meaningful connections with my students, the art community and other artists too.
What are the challenges of working with glass as a medium?
Glass is hugely challenging in almost all ways. Cost, technique, the time it takes to make pieces, firing schedules, environmental impact, shipping, selling! But it is a material which has qualities which are magical and unique. I am completely addicted. I love to combine glass with other materials and am currently investigating using porcelain. I have moved towards making in a slower and more thoughtful way to lessen my environmental impact.
I think the challenges in a way keep me hooked- to overcome them and create something beautiful. Like an alchemy. Glass is hard to understand but has an ethereal beauty – in this way it is the perfect material to use to try to describe the wonder of nature.
