Tuesday, 8 February 2022

OWLS INSTEAD OF PESTICIDES

A while ago, I visited Israel and had the pleasure of meeting Professor Yossi Leshem, who is involved in  something called The Atlas Project, which brings together Israelis, Palestinians and Jordanians.  Traditionally, Arab farmers felt that owls brought bad luck, but in fact, thanks to Yossi's efforts, owls are now being used instead of pesticides, to control rodents in the fields.  Farmers now love the owls, and this film shows the project in action:  Just click on the link to watch the short presentation:

In this part of the world, where tensions are often high and bad news from the region is all too common, it is a joy to see Arabs and Israelis working together in this way.

I have always liked owls;  as an art student, I drew lots of them, in London Zoo, and in the museum in Tring.  I was able to touch and hold one of these fabulous Israeli baby Barn owls, which sat happily on my hand and allowed me to stroke its soft head - a wonderful experience.

More recently, I found a supplier selling the cutest tiny  "millifiore" owls - small pieces of glass which can be included in fused pieces.  I bought a few and have included owls in two pieces of glass art.  Obviously the photos are much smaller than the pieces themselves, so the little owls are hard to find, but you can see them in the detail pictures.




and a sculptural piece:



I love these little cuties, and because they are so small and will only really be spotted by someone eagle-eyed, I think I got away with it in that they don 't look too twee, always a problem when adding little creatures to pieces of art.

I think they are fun.

  




Sunday, 6 February 2022

NEW WORK FOR A NEW YEAR

 It is only February 2022, so it is still the beginning of a new year.  I have some new followers, forgive me for not acknowledging you but I will try to send out a newsletter shortly.  So I thought I would show you some of my newest pieces for this year.  I am still struggling with stroke symptoms, and cannot do a great deal on my feet, but somehow or other, I managed these new pieces.  It is called "being stubborn" I think!


I reckon they are somewhat self-explanatory so I will let them speak for themselves -

A new Monstera leaf. Made entirely from crushed glass, fused in a kiln - amazing, huh!  Makes a fab bowl, but would also look stunning hanging on the wall..........?



An "art" piece.  I love the way the stand perfectly complements the image and the colour.  It has the cutest pair of owl in it...I will be sorry to sell it, they make me smile.

Extraordinary how glass can be made to look like a painting, isn't it.  Makes this piece very unique.  My "canvas" was a flat sheet of glass, and the image is created with strings of glass and pieces of crushed glass.  No paintbrushes involved at all!


A beautiful "cyclone" bowl, with swirling colours.  Looks lovely even unfilled. Believe it or not this is entirely made from a single sheet of clear glass, with colour added using glass powders suspended in water.  Creating with glass is complex, but the results can be magical.

I love glass for its transparency, and vibrancy.  Since having a stroke, I also appreciate the help of my kiln...I work on a piece, the kiln finishes it off overnight.  Just as well because after an hour or two of standing to work, I am finished, and should only really work in short bursts.  But...I feel the eventual results are gratifying and worth the effort!  I hope you like them too.

I do sell on Etsy (Jackiesimmondsstudio)(clickable link)  and I will now allow people to come to my studio by appointment, instead of doing Open Studios, which are too much for me now.  But you are always welcome if you want to pop along!



Sunday, 30 January 2022

SPIRAL DECORATION, ORGANIC SHAPE

When browsing one day, I spotted this set of moulds:



I liked the idea very much, but was not so keen on the price!  They were available in the USA for over $100, and although I do sometimes buy from the US, I am often hit with huge fees...not only is the shipping high, but also I have to pay Customs Duty, and VAT, and all of this is charged on not just the cost of the item but on the shipping cost too.  And at this end, there is a "handling fee" charged by the post office.  So often, that $100 can double in price.  OUCH.

This led to my trying to find another way to create the bowl, using alternative materials. The alternative method cost me a fraction of the cost of these moulds!  Very pleasing. and the end results delighted me.  And others when I showed them on my Facebook pages.  So I have now written a tutorial on how to make these nice pieces.  I thought I would mention it here, in case you have not spotted it on Facebook.  So this is for all my glass artist readers.
If you click on this link it should take you to a Paypal page where you can purchase the tutorial if you wish:

Organic Wavy Spiral bowl tutorial

and here they are!




Happy fusing folks!

Saturday, 30 October 2021

 Glass landscapes…should I use opaque glass, or clear, for my “base” glass?

 

One has to take into account transparency and opaqueness in glass when creating images I do understand that this may seem obvious to some of you...but sometimes, even obvious basics such as this are not properly anticipated and the end result might be either a pleasant, or a not so pleasant surprise!  

If you produce a landscape on a transparent glass, using a mixture of transparent and opaque frits and embellishments, it might look great up against a window, or with a lamp behind,  but flat on table or on a stand or hung on a wall,  it may look very different.   If you are trying to create distance or depth, then how you deal with the “tones” in a landscape is important – tone being the relative lightness or darkness of a colour.     If you want an area to be light, the sense of depth, or atmosphere,  may change if it looks darker when you shift your piece!  A change in the tone may bring an area forward when you want it to recede, for example – or vice versa. The transparency of an area of glass will be dramatically influenced by where you place the finished piece

   If you work on clear and put a layer of pale opaque behind, or work on a pale opaque, SOME light will penetrate when held against a window, or if it is lit from behind,  but actually, the opaque glass will act as a reasonably stable "light source" for your landscape and will keep the integrity of the colours and tones you’ve created when there is no other light source, much like white watercolour paper “lights up” the washes in a watercolour painting.  This needs to be part of your planning process.

 

top Image created on white opaque glass, using enamels, frit and stringers.  Photographed on a fairly light ground, with natural daylight hitting the glass from the front.
 


same piece, on a dark ground, ( light reflections at the top of the piece, from a doorway,  making some of the branches look pale).  But in the main part of the image there is very little difference in tone values.The opaque “ground” stabilises the tones and colours.

 

        trees image… enamels, and frit, on a streaky glass with a lot of transparent areas;   on the left, against a white wall, photographed with light from the front,( creating a bit of reflection on the surface in places);   on the right, you see it held up to sunlight – so on a windowsill,  it will change very much according to the prevailing light.
 ALSO Notice the change of tone, where my finger is behind, so you can imagine that against a dark surface, such as a dark wall, or a dark mount in a frame, a lot of the image would be lost.

All best anticipated!




Jackie Simmonds

Please note...this information is part of a larger tutorial on working with landscape images, created especially for glass artists who have had little or no art instruction.  Please see more info on my tutorials page on my website:  www.jackiesimmonds.com

Wednesday, 4 August 2021

Where there's a will, there's a way.

 The stroke I had during my heart surgery left me with problems with sketching and drawing - and so with painting too.  I literally could not draw a straight line, or any line, for that matter.  Holding a pen or pencil or piece of charcoal, became a major issue, my hand would shake and arm would jerk.  Not conducive to happy sketching!  So for a long time, when energy allowed it, I would make things, either in resin or glass.  This is quite satisfying, but the easel sat forlornly at the back of my studio, looking neglected.

I have long wanted to try painting in a freer, more abstract way, but every attempt failed to satisfy.  Then, the other day, I watched someone on the internet,  "painting" without brushes....using found implements such as nail brushes, spatulas, sponges, and cake slices.  I tried an image - no brushes, just collage for texture, stencils, rags and a palette knife....but I found myself hanging on to the subject, an Acacia tree in the Negev desert.... and although there were interesting, abstract marks throughout, it was not loose or abstract in the end.   I took some photos of areas of the image, and preferred those sections, to the whole piece!




I decided to soldier on with another image, determined to create something fully abstract this time, with landscape in mind, but no particular motif.  Instead, I simply divided up the canvas in a way I thought might have a sense of landscape, stuck with a simple but dramatic colour scheme, and just beavered away with texture paste, spatula, and cake slice!  It was very liberating indeed, and also gratifying.  To know that despite the stroke, and despite the exhaustion which creeps in very fast, I can in fact create a work on canvas that excites me.  I hope it wasn't a fluke!!!


.   

It really goes to show....where there is a will, there is a way.

  

Friday, 18 June 2021

SPECIAL PERSONAL NEWS

 I hope I will be forgiven for posting a more personal blog this week, but I would love to share some special news with you all.


Some background:  My husband Geoffrey, as a young man, was never introduced to classical music.  He was the proud owner of a  record player as a teen, and listened almost exclusively to pop music and country western music. 


  We met and married in our twenties - more than 50 years ago - and in the first decade of our marriage, we enjoyed fun Christmas holidays with groups of friends.  On one of these holidays, Geoffrey watched his first opera on tv......Verdi's La Traviata.....a wonderful Franco Zefirrelli movie, produced in 1985, with Placido Domingo in a lead role.

He was transfixed. He watched avidly, absorbing every note.  It was the start of a long-lasting love affair between Geoffrey and the world of the Opera.  Soon after, he was invited to a performance of the Pavilion Opera Company, which took place in a City livery hall.  The performance was not on a stage.  The company dressed in full costume,  and sang in the original language,  but performed "in the round" on a large carpet, using a single piano.  The small audience surrounded the carpet, and enjoyed the full force of the powerful voices of professional opera singers, from the distance of a few feet!    This is a staggering experience - it not only reinforced Geoffrey's passion for opera, but it also sparked an idea.  He felt he had missed out as a child, and wanted to introduce opera to children at an early age, so that they too could enjoy this very special experience.

He met with Freddie Stockdale, Director of Pavilion Opera, and presented the idea of an Educational Trust.  Freddie loved the idea and partnered with Geoffrey to create Pavilion Opera Educational Trust in 1992.    Geoffrey took performances into schools, for 8-9 year old children.  He raised funding from major business organisations all over the UK.  The children were introduced to and learned, through a six-week comprehensive cross-curriculum package, the full story, the history of the opera and the composer.  They were provided with a fully scripted play in English, through which they rehearsed the Opera itself.  Before the event;  they produced project work which was placed on display in the school hall. The local mayor and other important local dignitaries were invited.   The performance took place, on the huge carpet, in the centre of the school hall, with a piano, and the children sat around the edges of the carpet, on the floor and on benches, within just a few feet of the singers.  After the performance the children met the singers, asked questions, and collected autographs enthusiastically.  Later, they were asked to write letters to thank the organisers, and these letters are a joy to read.  "I thought it was great, it was so LOUD"   "The man who played the piano was fantastic"  "My Dad said I would not like it, but I did and I would like to see another opera".




To see the joy on the children's faces was wonderful as you can see from the photo below.  The performers enjoyed it too, as they involved the children, often singing directly to a particular child, or even sitting on the lap of the Headteacher, which the kids loved.


There were no compromises in these performances which were sung in the original language, but in fact the children found this much less of a problem than some adults.

Over 26 years, more than 62,000 primary school children in 879 participating state schools, where opera was not readily available,  saw a Pavilion Opera performance.  15 different operas were shown, including The Marriage of Figaro, The Barber of Seville, The Magic Flute, Macbeth, and others. 

 


Despite applying for funding from various bodies...The Lottery Fund, the Arts Council, and others, Geoffrey was never offered any funding, and so had to raise all the funds without help.  Thankfully, the organisations he approached  supported the project for three years at a time.  Also, Geoffrey found some wonderful donors who supported the Educational Trust continuously.  Thanks to these generous people, a large number of children were introduced to classical music, history and Opera in a positive and exciting way.

As a result Geoffrey was this year awarded an MBE (for services to education) in the Queen's 2021 Birthday Honours.

As you can imagine, I am a very proud wife.



Sunday, 11 April 2021

WHEN LIFE GIVES YOU LEMONS, MAKE LEMONADEl


I really like this expression, and it is so apt for me right now.

For so many years, I sketched and painted.  Even though I turned to other craft pursuits for a change of pace, I would still occasionally produce a painting...and there can be no doubt that I was probably a better painter than craftsperson.

However life, for me, took a strange turn not so long ago.  After heart surgery and a stroke, I find that I am now left with a body that is hard to recognise.  I can literally no longer draw a straight line - sketching is out of the question.  I have poor balance, and suffer with something called "stroke fatigue" which impedes my ability to do a lot on my feet.  Please dont think I am looking for sympathy....it is what it is, I have to get on with life and I try not to complain too much.  But there is no doubt that life suddenly handed me lemons, and I had to find a way to make lemonade.  I was not happy with the thought of sitting on my hands doing nothing except watch the tv!

Enamelling is a no-no, as one has to hold a red hot piece of metal balanced precariously on a trivet and move it around. I would drop it and set light to myself, without question!  Sketching upsets me, I find I can hardly hold a pen still to sign my name any more,let alone sketch.  Glass ...well, one needs to be able to cut glass safely to create glass art.....but......

I can cut against a straight edge AND I CAN WORK WITH GLASS POWDER AND FRIT.  Frit is crushed glass.  Frit, in a mould, or on a glass base, melts in the kiln.  And with it, I am creating all kinds of different things., including the gorgeous poppy bowl above. It is hard to believe that is made from crushed glass, isn't it.  So, I thought it might interest you to see a few pictures and learn a little about the process.

This is frit.  It comes in tons of sizes and colours, from fine powder, to chunky pieces:


When I want to make a flower shape like the red poppy above, or the blue poppy bowl below, I first have to fill a MOULD with a mixture of frit and powder.  

A ceramic mould looks like this...here is my poppy mould, a sieve, and a small pot of powder - this is Claret Red, believe it or not!  Well, it will be when fired in the kiln.
The mould must be filled quite carefully, using various different colours and sizes of glass frit and powder, and after 12-14 hours on a complex and specific temperature schedule in the kiln, I will have a flat disc with a poppy petal texture.   

This then has to go back into the kiln, in a"slumping" mould, for the glass to soften and form an organic shape. A totally different temperature setting is required. Below is an "organic" slumping mould that gave me the shape for the red poppy at the top of the page. ( after making the original flat disc, I may decide NOT to use this standard slumping mould, I may use my own props using special fibre blanket which I harden.)
Here are some other moulds, with their resulting forms:  The sunflower mould is filled with frit and powder, ready to be fired:
   

I make the process sound fairly easy and straightforward, but things can, and do, go wrong. Moulds are expensive, and can chip or break.  The glass can get stuck in the mould.  If I do not use the right amount of frit, I may end up with holes in the glass. If I mix up the colours and use a sulphur-based frit together with a copper-based frit, I could end up with strange unwanted colour reactions.  Waiting for the first kiln firing to end is fraught with worry!

I don't just make flowers. Using frit, and chopped pieces of glass and other "inclusions" I also make and sell these lovely paperweights too.  And I give a percentage of my sales to the British Heart Foundation.


My Dragonflies are also made with frit:



Thank heavens for glass!  I feel that at least I am doing something with my time which is more productive than watching the tv!    I am not happy about the uncomfortable physical challenges I am faced with, but am determined to do what I can, to the best of my ability, when I can.  I just have to keep thinking about those lemons......and enjoy the lemonade..........










  

 

Tuesday, 30 March 2021

MAD AS A MARCH HARE!!!

 Why do hares box?

It is all to do with mating. There can be some confusion about whether boxing hares are male or female, and the answer is both: an amorous male (or buck) and a fed-up female (or doe).
A surge of testosterone pushes bucks to turn up their engines throughout March and April. They chase their chosen doe across fields at full-pelt in an effort to mate with her. Understandably, this can all get a bit tiresome for the poor does, which is when they initiate the boxing match, whipping around and using flailing feet to fend off any buck pushing his luck. It’s not unusual to see fur flying!
This fast and furious display is thought to have sparked the phrase, ‘Mad as a March hare’

I have produced a glass piece for a March Hare stand. The glass is screenprinted with the wildflowers, and it sits in the Hare stand. This is available from my Etsy shop,- but be warned - there is only one!!




Monday, 1 March 2021

THE WONDER OF THE DRAGONFLY


Mosquitoes bite you, leaving horrible itchy red welts. Bees and wasps sting. Flies are just disgusting. But there’s something magical about dragonflies. 

 Dragonflies were some of the first winged insects to evolve, some 300 million years ago. 

Modern dragonflies have wingspans of only two to five inches, but fossil dragonflies have been found with wingspans of up to two feet. Some scientists theorize that high oxygen levels during the Paleozoic era allowed dragonflies to grow to monster size.

 There are more than 5,000 known species of dragonflies, all of which (along with damselflies) belong to the order Odonata, which means “toothed one” in Greek and refers to the dragonfly’s serrated teeth. (serrated teeth?  who knew?)

 In their larval stage, which can last up to two years, dragonflies are aquatic and eat just about anything—tadpoles, mosquitoes, fish, other insect larvae and even each other! At the end of its larval stage, the dragonfly crawls out of the water, then its exoskeleton cracks open and releases the insect’s abdomen, which had been packed in like a telescope. Its four wings come out, and they dry and harden over the next several hours to days. 

 Dragonflies are expert fliers. They can fly straight up and down, hover like a helicopter and even mate mid-air. If they can’t fly, they’ll starve because they only eat prey they catch while flying. Dragonflies catch their insect prey by grabbing it with their feet. They’re so efficient in their hunting that, in one Harvard University study, the dragonflies caught 90 to 95 percent of the prey released into their enclosure. 

 The flight of the dragonfly is so special that it has inspired engineers who now make robots that fly like dragonflies. 

 Some adult dragonflies live for only a few weeks while others live up to a year.

 Nearly all of the dragonfly’s head is eye, so they have incredible vision that encompasses almost every angle except right behind them. Dragonflies, which eat insects as adults, are a great control on the mosquito population. A single dragonfly can eat 30 to hundreds of mosquitoes per day.   

 I have a pond in my garden, and I love to watch the dragonflies as they dart over the pond and settle on the lilypads. And now, I make dragonflies, 5"x7", in glass.......immortalising them for ever. Since my heart surgery and difficult recovery from a stroke, I appreciate their symbolism - the dragonfly is a symbol of change, transformation and self-realization. It teaches us to love life, to rejoice and have faith even amidst difficulties.

They are popular and don't stay with me for long (the green one below is sold), but occasionally I put my dragonflies into my Etsy shop, if you would like one too.  ETSY SHOP




Wednesday, 20 January 2021

NEW WORKS IN GLASS - FOR VALENTINE'S DAY AND FOR EVER!

I am working my way back into working with glass, and decided to start with "glass casting" - that is, creating big chunks of glass out of crushed glass and decorative elements.  The way it works is that I fill a mould with crushed glass, choosing my colours and decorative elements in order to create a sculptural piece, which has great depth once fired in the kiln.  I began with glass hearts, Valentine's day in mind.  The resulting pieces have gorgeous colours and clear depths, and are pleasing to hold, they are the size of the palm of my hand, and feel comforting and smooth to hold.  Surprisingly nice, in fact.  One of my happy customers said she loved staring into the one she bought, she said it was like "looking into new worlds in the depths".

Here are a few of them:






The bottom one is really quite deep, about 2cm and it is like looking into the depths of a flowing stream.   


 I decided to add words to some of them:
  


I now have a large stock of these hearts, ready to go to new homes.  They are inexpensive, because I am using them to celebrate my return to glass after a long absence!

Then, I decided to be bold and CUT some glass...something I have avoided because of shaky hands....but I was very careful.  And this is the result, a lovely screen-printed candle screen, which glows at night with a candle behind it.

It is now in my Etsy shop.  click here 


and here it is, at night, with a candle behind - how nice is this.


(Quite a few of the hearts are there too.  But I have more, so if you would like one, just ask for photos of the colour you like.)

I hope you will not mind too much that I have shown these new pieces, but it is a milestone for me in my recovery from stroke, to be back to creative pursuits.  So I am celebrating just a little!


 






Wednesday, 11 November 2020

 IS SNOW JUST WHITE?

Well, the answer is yes, snow is white, we all know that....but creating an image with snow, whether in paint, or enamels or glass, means catching the nuances of colour which are created by the prevailing weather conditions.  And boy, are there lots of nuances!  I will just say this, for the sake of brevity:   warm light = cool shadows.  This is an important little sentence to remember, always.  And the other side of the coin, is that cool light, such as an overcast day, can still provide subtle shadows, but the colour will be quite different.  You need to observe carefully, and try to use the information in your work.  I will provide here some examples, in various media, just to demonstrate, as we are visual artists, so I will work with visual images:

GLASS

Here we have a bright, eye-hurting day, when the sky is a wonderful turquoise blue, the sunlight is warm(ish), the contrasts are strong.  The white snow is in fact a riot of colour:  warm cream where the sun hits, and cool blues in the shadows.


Here are two detail pictures, which may give you more information:

notice how the sunlight hits the trees on the right of their trunks, outlining just a little, and there it "warms" the trunk colour too.

In this next scene (also GLASS), the sky has a very pink hue, as in a sunset, and the distant snow is reflecting some of that pink.   There is no direct sunlight, so no long shadows and the foreground snow remains whiter, with touches of cream, pink and small areas of blue, for variety. 



Here is a detail picture, to show the variety in the colour in the snow.  I used layering, with frit and powders and some stringers for the thin trunks.

ENAMEL ON COPPER.  This little square is a bank of snow, against a dark tangly woodland background.  No direct sunlight, just the impression of turquoise depths in the snow with hints of a lavendar-grey, to link visually with the background. 

Here is one of my PASTEL PAINTINGS,  I still enjoy it, and in particular, the beautiful colours in the shadows.  See how the top edges of the snow clumps are creamy white, from the sun, but there are so many subtle blues and lavendars in the shadowy areas.


Although snow and ice may be white, try to find these beautiful colours to use. They will add so much atmosphere - black, white and grey can look very cold and sterile.  Blues, purples, pinks, apricots - they can all be found in snow scenes.  Particularly when the sun shines.  The sunshine will PAINT the snow with cream, gold  pink and orange - depending on the time of day.........and the shadows will be blues and lavendars and purples.   Your work will come to life if you don't just think " ah, it's snow, snow is white".

For my tutorials, some practical, some more informational to support your work, please visit http://www.jackiesimmonds.com, and go to the tutorials pages.