Steven Graham - In Glass

The Bee and the Golden Weave

Highlighting the use of neonicotinoids in agricultural farming, and the plight of the bee’s struggle to survive in its natural habitat, the piece shows the bee in majestic flight while the border depicts a strong interwoven lattice of hive hexagons, symbolising the rich tapestry of dependency we have on the bee’s produce and actions.<br><br>A traditional leaded panel in clear glass. The bee and weave design are painted using vitreous paint and silver stain, layered and textured to establish form and depth. The bee’s wings and the hive cells have been acid etched then gold and silver leaf.<br>

The Bee and the Golden Weave - detail

The border’s hexagonal weave, the hive cells and wings have been water gilded with 23.5 carat gold and silver. The glass has two layers with elements applied to the front and back of each. This layering adds depth, movement and overshadowing. <br><br>The juxtaposition of these materials adds to the conversation, the fragility yet solidity of the glass, the structural yet malleable properties of the leaded frame and the earthen mineral formation of gold and silver having been converted into highly delicate leaf. All these characteristics echo our relationship with the bees.<br>

Garry - Retirement Panel

Commissioned to celebrate Garry’s retirement, this multi layered etched piece captures his legacy with the company, his standing amongst his colleagues and the ongoing support and commitment if his family. <br><br>The handwritten words have been digitised, shaped and peppered with symbolism of his family and their interests. The design is held together by a traditionally painted steering and supportive hand. The binary code conceals text which narrates the piece, while Garry’s confident and friendly face remains ever present at the rear.<br><br>The maple plinth conceals an LED array which illuminates the layers with specific colour properties.

The Making History Dunfermline Abbey Triptych and Memories Candelabras

This image shows all of the pieces created by me in response to my ‘Making History’ residency at Dunfermline Abbey, and comprises of my Dunfermline Abbey Triptych and two bespoke candelabras displaying 50 mini windows designed by Boys Brigade and Young Scots participants. They are shown on display in the Abbey Nave, beneath the majestic Queen Mary window and Norman stone arches.<br><br>The panels are individually described later, however they are each framed in oak and mounted on bespoke foundry steelwork stands. The frames, stands and candelabras were designed to reflect and celebrate the medieval setting.<br>

Dunfermline Abbey Triptych - Queen Margaret panel

The first panel of the triptych tells the story of Queen Margaret’s transition through to Saint Margaret.<br>Reflecting her links with Benedictine Canterbury Cathedral, the 8 key stages of her life depicted in the style and muted natural colour palette of the Bayeux Tapestry. <br>The central disc is a kiln carving based on the Dunfermline Abbey ‘pilgrims badge; rectangular pieces of lead hammered into a relief of Saint Margaret seated with sceptre and gospel. <br>The fine text is Turgot’s poem inscribed in St Margaret’s gospel. I used photosensitive vinyl resist to achieve the sandblasting on blue flashed glass.

Dunfermline Abbey Triptych - Queen Elizabeth II panel

This panel celebrates the Platinum Jubilee of Queen Elizabeth II.<br>This panel captures the conferring City status on Dunfermline as the 8th City of Scotland; depicting the churches associated with the cities. The restricted palette of the paint’s echoes painted postcards, popular at the time of the Queen’s Coronation. <br>The etched border wording are those used to formally declare the City, its ‘Letters Pending’, on a mauve flashed glass to reflect the Jubilee colour.<br>The central disc is a two layer etching of the Great Seal of Scotland, executed to mimic the City’s significant Damask linen history. <br>

Dunfermline Abbey Triptych - The Abbey panel

This panel celebrates the Abbey’s association with Scotland’s monarchy. The border embraces the Lion Rampant in colours and details and was executed using acid etched flash glass.<br>The central view of the Abbey is painted 1960’s mouth blown glass using traditional high fire paints and enamels.<br>Surrounded the Abbey are 9 illuminated letters, each being the initial of their respective monarch, and individually designed to capture an element of their life stories and executed in traditional high fire paint, enamels and silver stained, with the letter shapes being reinforced by acid etched reliefs, inset with 23.5 carat gold leaf.

Allison - Memorial Panel

Commended by the Nue Glas Review, this panel depicts Allison, a loved wife, mother and daughter in law, and was commissioned following her loss to breast cancer. Reflecting the client’s interest in Alphonse Mucha, the nouveau styles lattice work contains many of Allison’s loves in life, from her wedding bouquet yellow roses, candles, cakes, VW vans and supported the Beatson hospital. Relevant family dates are concealed amongst the rose leaf foliage. <br>The traditional leaded stained glass panel including acid etching, vitreous paints, silver stain and gold leaf water gilding, and was installed in an LED framed light box.