posted on 10:19 AM, February 20, 2017

Tell us about yourself!
My earliest experience working with glass was massacring some jam jars with an engraver as a kid. That must have stuck with me to return to working with it as a teenager at a stained glass evening class. A couple decades later, I’m still playing in my own studio in Glasgow, Scotland, mostly with kiln-forming but the occasional foray into hot glass occurs too.

What draws you to the material you work with, and why have you chosen the processes that you use in your work?
Even after a millennia of making and working with glass, there are still new ways of creating with it that are being developed all the time and in conjunction with the traditional skills. I love how the hand is still valued and never replaced by technology, merely aided by it.

What is your dream project?
My studio ranges explore cutting thick glass silhouettes using water-jet cutting and I would love to work with the Natural History Museum in London to create some of their dinosaur collection in glass. I think it would be an amazing technical challenge as well as make a visual impact too.

If you weren't working in this field, what career would you choose?
I’ve actually tried my hand at other careers, mainly in the public sector and civil service. While I loved the feeling that I was making a difference to a local community, the bureaucracy can be a killer. So I think I’m happy to stick with the life of a struggling artist!

What's something about you that most people don't know?
Disney makes me cry, like a lot. I’m the worst for knowing exactly how they will tug at the heartstrings and blubbing away anyway!

Visit Rachel Elliott's GAS member profile here.

Daisy Hare, 2010, 100(H) x 70(W) x 10(D)mm, water-jet cut glass, screen-printed enamels
Fragile Entomology - Quiet, 2012, 15(H) x 21(W) x 4(D)cm, fused glass powder with flameworked glass

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