Photos courtesy of Harry, another Esteemed Student, this time from my Thursday morning class. Harry says:
I attach some pictures of some interesting glass in our church - Westbury Park Methodist on the corner of Etloe Road and Berkeley Road.
There is one of the John Wesley panel and a detail from underneath it. Also there is a typical roundel. Hope you like them. I have some spare glass available which is the colours and sizes of the south window detail if any one would like some.
If there is interest on the blog I thoght I might put up some more pictures - perhaps some from St Alban's church too.
1 comment:
Hello Milly and all...
Here's some info on the film I mentioned last week,'SLOW GLASS' if people are interested I'll bring it in sometime. It's a favourite of mine. Sorry I missed you all yesterday,
Emilie
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John Smith Web Page
A nostalgic glazier shows off his knowledge and expounds his theories. Taking glassmaking processes and history as its central theme, Slow Glass explores ideas about memory, perception and change.
"The rich visual surface and engaging voiceover of Slow Glass convey an extended metaphor which links light, glass and lens. The film is framed by an Ôopening' shot (a smashed window pane) and a Ôclosing' one (the window bricked up). As it slowly reveals its own artifice, the realist surface is interrupted, as when a car mirror shows reflections of a different journey than the one visible through the windscreen. These constructed Ômistakes' which break the flow are so crafted as to invade the image and unsettle the word. Direct evocation of the past —a 1950s childhood—allows the film to question its depiction of the present... Smith brings formidable skill to bear in a film which scrutinises the very Ôspeculations' it incites."
—A.L. Rees, "A History of Experimental Film and Video" British Film Institute 1999.
"There are jokes galore in Slow Glass but the seriousness of it all is what stays with me. There is loss, and frustration, and irony, and irritation, and confinement, and terrible tension in the long glassblowing sequence. The film's visual attack—fast editing, split screen effects and jump-cuts—is heightened because belied by the laconic voice-over. The authority of the voice track, so important to the uninspired documentary film-maker, is thoroughly debunked in this film along with the authority of official cultural histories.
...The story is a personal reflection on changing attitudes to labour, and it is also the story of an industry."
—Penny Webb, Agenda #30/31 1992
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