Blooming Colour: In conversation with kiln-formed artist Catherine Dunstan

Read time: 7 minutes

Where did your amazing, kiln-formed patterned works come from?

It probably makes sense to give you some context of what I was doing beforehand, I was working with glass by 2012, and was making to sell as that’s what I needed to do at time, rather than starting a journey of creative exploration. Alongside that I was working in a stained-glass supply shop and teaching. I was focusing on my creative voice, and then I had a baby in 2017, and that really threw everything out! I was also going through a real time of depersonalisation as a mother. So, I took the leap to go back to my MA in Glass from the University for the Creative Arts – my technical knowledge was established, but the challenge for me was connecting to my creative voice. Then lockdown hit, I was stuck in my sheds, and it was good that I had the backdrop of the university course pushing me to play with glass, which led me to find my pattern making process, which is called ‘Colour blooming’. It’s very meditative, and it taught me that escape for me was through pattern making.

I didn’t have a single clue what they were going to look like. I see myself as an engineer, not as an artist sometimes. I was interested in how glass melts, what the ins and outs were and how could I push it. That was my turning point, and I found I was really freed by knowing I didn’t have a restricted budget but rather that I could be free with what I was making and lost myself in the engineering of this process.

I read in your book that there are almost 5000 pieces of glass in your work; how does one begin arranging 5000 pieces of glass?!

So, it’s one of these things that’s stupidly complicated! The way it works is, I will cut lots of little triangles out of sheet glass, in an array of colours, cut into tiny triangles, several layers thick. Then I will tack fuse these together on a low temp, then they go in the kiln besides each other, this is where the ‘blooming’ happens.

In ‘Serotonin’ (pictured above), there are 30 pieces of glass per segment. Maybe 150 segments! Wherever there is a piece of colour, that’s an individual cut piece of glass, and all spaces within the colour are individually cut pieces of clear.

What ideas are bubbling around in your head now? Where are you finding inspiration?

So, I am working on a few things at the moment, particularly making the patterns bigger for a solo show in New Ashgate Gallery in Farnham, opening in January 2024, I would also like to collaborate with my partner who’s a poet, we would create something that would be about the rediscovery of self, and how we are finding new parenthood. This is shelved for the moment, as I am focusing on my solo show in January.

Glass as a medium is endless; you can have such different outcomes if you make the slightest change. How do you think your style represents you? How do you think your work is pushing the boundaries of glass?

I feel like I wanted for a long time to have a body of work that was instantly recogniseable as my style, but I didn’t find that until I relinquished control. I think its really born out of my need for things to be perfect and culminating in my need for technique perfection. I was also a successful teacher before I was a successful artist, it’s so technical and can be taken in so many different directions. I think colour blooming lending itself to different ways of interpretation and play.

One of the most exciting moments in my practice, was when I was making my first test piece, I opened the kiln and saw this piece I knew it was going to work, that was so exciting – plus realising I was the only one in the world discovering this! It was a cool feeling.

Everyone’s work is pushing the boundaries, but my work is taking what we already know, but it questions every part of that process. From the kiln programme to the glass used, utilising it as a scientific process rather than an artistic endeavour.

What are your dreams for Gather Books? And how do you think publishing will elevate the world of craft?

Gather Books exists as I find myself in a uniquely privileged position; my partner is a published author and poet, so I have an in-house editor and a designer on board. I moved down a neo-route for publishing; I wanted to self-publish Creative and Professional development for Glass Artists, as I have the contacts through my teaching and as an artist.

Creative and Professional Development for Glass Artists

A practical guide to finding your creative voice and planning your journey in the world of glass.

Buy now

So, I decided if I prefer self-publishing, I would create my own company. I have high-functioning anxiety, and a consequence of this is hyper focus, so when I had the idea to start a publishing company I just has to do it on the spot. I did it in one afternoon! I’m now set up to receive submissions from other creatives writing about the world of craft later this year.

It’s also been very beneficial for me, being creative about putting yourself where you want to be is essential! I always think its good to be creative about how you develop ideas. Make your own opportunities.

What’s your dream creative project? Or location for one of your artworks?

I want to make this part poetry collection part glass installation about motherhood with my partner. I would love to be represented by more galleries around the UK, and do more collaboration, as its being really rewarding, learning from each other, and creatively producing events. So, gallery representation, collaborations and collections!

You can find out more about Catherine’s practice via the links below:

https://www.catherinedunstanglass.co.uk/

https://www.instagram.com/catherinedunstanglass/

Written by

Leanne O’Connor

© Blowfish Glass UK