MEET: Rachel Elliott

Today we are pleased to catch up with Edinburgh based glass artist Rachel Elliott to find out what inspires her unique craft pieces.

Photographer: Patrick Lauke

Please tell us about yourself and how you got started.

I was born in Surrey, which explains the accent that throws people who meet me for the first time (they assume living in Edinburgh makes me Scottish).  I moved here ten years ago to study Architectural Glass at Edinburgh College of Art and never left, setting up my studio in 2009.  I’ve always been a maker but was drawn to glass after stumbling upon a hot glass studio in New Zealand while I was travelling, spending 2 days being absolutely transfixed by the family who worked together blowing and engraving glass.

How would you describe your work?

Broadly, I make kiln-formed glass, with pieces being either entirely formed in moulds during the firing process, or surface decoration fused into place.  My work ranges from small items of sculpture or jewellery to unique one-off pieces for exhibition or installation.  I’m not a sensible artist and often incorporate elements of fun into my work mainly for my own amusement, but hopefully entertaining others too.   I also teach from the studio and other locations, a recent popular class being the screen-printing techniques I apply to the kiln fired enamel in my work.
 

Photographer: Colin Tennant

What inspires your work?

Glass! I love the technical challenges of working with it in different ways and troubleshooting after unexpected results.  I’m also inspired by the intricate details of life. My work is mostly representational, attempting to catch the viewer’s eye, inviting them into my world and hopefully leaving with a smile. 

Photographer: Colin Tennant

Can you tell us a bit about your studio space?

My studio takes up the smallest room in what used to be a secondary school in Craigmillar, an area to the south of Arthur’s Seat and the city of Edinburgh.  It’s an area of ‘regeneration’ which due to the economic downturn actually appears quite rural - housing that was cleared has yet to be re-built, although we currently have a new library under construction right next door.  There are no other full-time artists here, though we regularly have film, TV & theatre companies taking up residence in the old gymnasium and other rooms around the building. 

Although I’ve not had the opportunity to visit many other kiln artists’ studios, I would say that my 200sq. ft space probably fits the most equipment and capacity into it that I’ve ever heard of.  Despite being a small space, I have one of the largest flat bed kilns in it with an internal working area of 2m x 1m x 27cms and have two other kilns as well.  I knew space would be restricted from the beginning so all my workbenches are multipurpose, with tops that hinge and secure to the walls behind allowing for more space or access to the light box or steam area.  It’s a proper Heath Robinson affair and short of installing a mezzanine or winch system to the ceiling, every little crevice is used.

What are your tools of the trade, and which is your favourite to work with?
The tools I use are all specialist glassmaking ones - they are all fit for purpose, so the kiln heats things up and cools them down again, the grinders take off material and polish it to a shine, the drill makes holes…you get the idea! None of them are my favourite as no single tool is used long in any piece I make, but they all make creating a little easier.

What do you love most about what you do and what do you find the most frustrating?
I love the double-take that occurs at the end of every day (or night, depending on what I’m doing!) when I look at what I’ve accomplished...it still amazes me where all this knowledge lives inside my brain to make what I do.  I also love when people see my work at fairs and tell me it’s like nothing they’ve ever seen before, actually that is probably the most frustrating thing as well - for me as an artist that is really the point of it all.  Why would I make things that someone else has already created, where is the fun in that?

Photographer: Colin Tennant

What's next for your business?
Currently I’m planning an installation of my new glass hedgehogs in the Manchester Craft & Design Centre in November.  I’m actually seeking funding for this in the form of crowdfunding, with people pledging an amount in exchange for a reward of their choice. So far the response has been positive but with the deadline fast approaching, it’s a little worrying on the nerves!

I also have a flurry of shows in the run up to Christmas: the Great Northern Contemporary Craft Fair in October, some work in America, followed by fairs back here in Edinburgh.  In the long term, I’m trying to build up a larger list of stockists around the country that carry my work, as I’ve found that glass really doesn’t sell very well online - it’s something people need to see in person, plus the things I make, people probably don’t know to search for too! 

Photographer: Colin Tennant

What advice would you give to someone starting a creative business?

I recently came across a great poster which explained that we as artists are both blessed and cursed with a critical eye for creativity, so we constantly strive to produce what pleases us and are often frustrated when we fall short of what we imagined.  This is very insightful and apt for artists throughout their careers, as it explains why so many give up or divert down easier paths.  I think it’s difficult to realise that it may take a lifetime to become the artist you want to be, but if you even suspect that’s the case early on, you’ll have a much better chance of achieving it, and be flexible enough to admit when things simply aren’t working.

Rachel's websites:

Hedgehog Project (Deadline 27^th September to Pledge): http://www.bloomvc.com/project/Road-Hogs-An-Installation-of-New-Glass-Sculpture

Website: http://www.rachel-elliott.com

Facebook: http://www.facebook.com/Rachel.Elliott.Glassworks

Twitter: @rachel__elliott