![]() Then there’s a triptych of seafood that uses clear glass to comment on the bleaching of coral reefs.Ĭould you tell me about the tableware in the display? For this show, I have made an enormous strawberry and used a mirroring technique to make it look obscene. I’ve been thinking about our idealised conception of food – how the farmed strawberries we eat are so unlike the tiny, seed-covered wild ones. How do the works comment on our relationship to food? Here, the 3D forms take inspiration from still-life paintings, their composition and depiction of expendable objects. But I’m also influenced by historical works of art. I’ve been working with glass for 12 years, always experimenting with different techniques. How does this series draw on traditional still-life paintings? In your current online exhibition with Messums London you’re showing a new body of work, ‘Plenty’. I think had the advantage of diversity – because I’m a sculptor more than traditional glassblower, I could come up with different forms quite easily, which gave me an edge. ![]() Why do you think you won the competition?Ī lot of it was luck – the other contestants were fantastic. ![]() I hope people in the UK can start to understand what we’re losing in terms of craft, heritage, history, skills and contemporary practice without publicly funded institutions for glass making. A lot of artist there make their work by doing projects with different institutions. ![]() Glassblowing needs a lot of discipline so I can see how it might change your perspective or your emotional state. One thing I learned is how many institutions they have dedicated to glass – a lot of them with charitable status, so people from underprivileged or challenging backgrounds can go and learn the craft. The American studio glass scene is much bigger than the UK’s. I’m hoping to use those to make work for an exhibition I have planned at the Habatat Galleries in Detroit, the flagship glass gallery in the US. People over here think it’s amazing that someone from the UK has won a US-based show.Īs the winner of Blown Away, I was awarded a residency at the Corning Museum, which I’m hoping to do in the autumn, as well as another at the Pittsburgh glass centre. We actually filmed it a year ago, so I’ve had to keep shtum since then, but the past week has been crazy and I’ve had lots of support. “It’s allowed us to do so much stuff that we were planning to do eventually, but like six, seven years in the future.2nd February 2021 | Blog Glass Artist Elliot Walker wins Netflix series ‘Blown Away’Ĭrafts magazine: How does it feel to have won Blown Away, and what happens next?Įlliot Walker: It’s still sinking in. There were only like two or three galleries that we really with consistently, and so suddenly to have that global audience has just been brilliant,” he says. “The exposure that we gained was just massive obviously, and so it opened us up to a lot of people who hadn’t considered what we were doing, especially coming from the U.K. The boost to business has helped propel Walker’s career forward and given him the space to explore projects he’s always wanted to tackle. It’s been really good for everyone.” This includes Blowfish Glass Studio in Stourbridge, England, the hot shop and gallery owned by Walker’s partner, fellow glass artist Bethany Wood. “Every studio has had an increase in people wanting to learn, wanting to take classes and stuff like that. There’s probably more in central Seattle than there is in the whole of the U.K., but every studio has benefited ,” Walker says. “In the U.K., we don’t have many studios.
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