Sally Fawkes’ intriguing artworks, articulate the visible and invisible possibilities of place. Bold rhythmical forms entice with the reassurance of their geometric origins and are animated by carefully considered combinations of markmaking, mirrored planes and surfaces of rich associative colours. Their luminous volumes of transparent cast glass are alive with layers of shifting imagery that blur the boundaries between the ethereal and the physical. Each piece captures the imagination in a journey of intense visual exploration.
The Making Process
Gathering source material through research is an ongoing process and has been accumulated over many years. When I am actually making I do not tend to refer directly to my original research but draw on my memory. Using images and information from my subconscious results in the references found within my work to be associative rather than time specific. Whatever stage I am at during the making process it is important that I “feel” how the piece will be, so I am relying on my instinct to know when a piece is “right” at each stage of its development from modelling to the resulting object. I have developed methods and processes that allow me time to reflect at every stage of making. I always work on several pieces at a time. I go back to a particular piece when it feels right to continue working on it; at times I work on a piece for more than a year before it is finished.
I start the process of the actual making by drawing “profiles”. These give me a visual sense of the form I am looking for. Quite quickly I start to model in three dimensions in whatever material is appropriate for the method of casting I will use, such as polystyrene, card, wax, clay, card or a combination of materials. I will select from my models ones that will be worked further into glass.
The selected models will be used to take refractory moulds from. The moulds may be made directly from the original positive model or a gel flex or silicone negative may be taken from the model and wax positives made in the negative moulds. I use whatever methods I need to achieve the desired results.
Once the mould is made and the model removed from the mould I select my glass for casting. I mostly cast with optical glass of varying compositions and fire at around 875 degrees C.
Once out of the kiln I have my basic form ready for sculpting. Using an array of diamond tools I cold work the glass to the desired final form and to reveal the interior body of light. To bring the glass to a final high polish there are 8 stages of grinding and polishing that the glass is taken through. The glass is often polished totally all over and any areas that are to be opaque, carved, textured or engraved are applied at a later stage. Although this may seem like taking a step back it gives me the opportunity to see how the interior is really working and how adding “boundaries” or “obstacles” to the exterior is likely to react with the interior space and change the behaviour or ambience of the piece.
The stage of mirroring is applied as close to the end or making a piece as possible because it is relatively vulnerable, particularly when working with the diamond tools. It is not always possible in the sequence of processes required to achieve what I am aiming for to do this and cold working a mirrored piece can be extremely challenging.
The painting of the exteriors of my objects is always one of the last processes along with dry engraving. The painting is also extremely instinctive. I have never decided exactly on the colour until I am mixing it. I always mix by eye and may paint over a colour a few times until I am satisfied with it; the colour has such an impact on how an object behaves.
Naming my work comes last. Thinking through what a piece is about I play word association. My works (with one or two exceptions) have two words in their titles that combine to suggest several directions thoughts could go. Taking one or more of these directions ones imagination can wander through a piece, bring to it their own conclusion, thoughts and reassurances or perhaps fresh ideas and challenges are stimulated.
Born 1968 in London
1998 Colour and Form - Meike Groot/Richard Price. Northlands Creative Glass
1995-98 BA (1st Class Hons) 3 D Design - Glass. Surrey Institute of Art and Design.
1987 Foundation Course - Art and Design. Southend College of Technology.
2007 Visiting tutor, MA Contemporary Craft, University of the Creative Arts, Farnham
2005-present Visiting lecturer, Lost wax casting, Glas & Keramikskolen, Bornholn, Denmark
2006 Workshop leader, Glass Sculpture, National Glass Centre of Spain, La Granja, Spain
2004-present Specialist tutor – BA (Hons) 3D Design – Glass. University College of the Creative Arts, Farnham
2003 Awards for Artists, Arts Council of England.
2010 ‘ART COUPLES the DNA of art’, New Brewery Arts, Cirencester, UK
2009 ‘Precious Metal’, Quest Gallery, Bath, UK.
‘Colour Vision’ The Scottish Gallery, Edinburgh, UK.
‘Timeless Bath’ Quest Gallery, Bath, UK.
‘Glass and Silver’ Martins Gallery, Cheltenham, UK.
‘Newby Hall Sculpture Park 2009' Newby Hall and Gardens, Ripon, North Yorkshire, UK.
‘Gallery in the Garden’ The Gallery at Bevere, Worcester, UK.
‘Fresh Air 2009’ Quenington Sculpture Trust, Quenington, Gloucestershire, UK. CAT.
‘The Glass and Wood Show’ The Gallery at Bevere, Worcester, UK.
'Summer Exhibition 2009' The Garden Gallery, Broughton, Hampshire, UK.
‘Chelsea Flower Show' with The Garden Gallery, Hampshire, UK.
‘Collect” represented by The Scottish Gallery, Saatchi Galleries, London.
'Modern and Contemporary Glass' auction, Bonhams, London, UK.
‘Contrasts and Collaboration’ 2 person show with Richard Jackson, Dan Klein & Associates, London, UK.
‘Featured Sculptor - Royal Watercolour Society’, Martins Gallery, Cheltenham, UK
‘Glass Casting” St. Joseph Galerie, Netherlands.
‘On The Edge’ Touring exhibition originating at Cheltenham Museum and Art Gallery.
3 person show with Richard Jackson and Ronald Pennell. Leon Salet, Maastricht, NL.
2008 Collect. Victoria & Albert Museum, London. Represented by Contemporary Applied Arts
2007 Scottish Gallery at Partridge Fine Art, London
Chase Charity Art Sale, Royal College of Art
‘Side by Side, Devon Guild of Craftsmen/CGS, Devon
‘Outside Inside’, Contemporary Applied Arts, London
‘Newby Hall Sculpture Park’, Newby Hall, Ripon, North Yorkshire
‘Fresh Air 2007’ Quenington Sculpture Trust, Cirencester, Glos
‘Non Conformists’ Morgan Contemporary Glass Gallery, PA, USA
‘The International Ceramics Fair, with Clare Beck at Adrian Sassoon, London
'Sculpture Exhibition 2007’ The Garden Gallery, Broughton, Hampshire
Dan Klein and Associates Glass Sculpture exhibition, London
‘Contemporary British Sculpture’, Martins Gallery, Cheltenham
‘Collect’ at the V&A represented by The Scottish Gallery
‘Art London’ represented by Adrian Sassoon, London
2007 Garden sculpture, Private residence, Australia. Collaboration with Richard Jackson
2006 Glass dome and finale for private residence, Kew, London
Public Art Commission - Cotswold Leisure Centre. Glass/steel sculptures in main stair well. Collaboration with Richard Jackson
Public & Corporate Collections
Crafts Council, UK.
Faringdon Collection Trust, Buscot Park, UK. Acquisitions in 2007 & 2008.
Fitzwilliam Museum, Cambridge, UK.
M.A.V.A. Museo de Arte en Vidrio de Alcorcon, Madrid, Spain.
Shipley Art Gallery, Gateshead, Tyne and Wear Museums, UK.
Victoria and Albert Museum, London, UK.
National Museums of Scotland, UK.
AON - Non Marine Reinsurance, London, UK.
The Cowdy Collection, Gloucestershire, UK.
McGraw-Hill, Canary Wharf, London, UK.
Public Site Specific Commissions
2006 Public Art Commission - Cotswold Leisure Centre. Glass/steel sculptures in main stair well. Collaboration with Richard Jackson.
1998 ‘Reflexion window’ Education Center, Guildford Cathedral, Surrey, UK.
- CAA Exhibitions
- Current Exhibition
- Coming Soon