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We Are Crow

7 March 2024 - 6 April 2024

We Are Crow, March 2024

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Inside My Own Laughter (Crow), 2024

oval form with flat base, kilnformed and sandblasted glass
H:9cm W:39cm D:23cm
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Owl – Medium Owl Vessel, 2024

kilnformed and sandblasted glass
H:9cm W:31cm D:21cm
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Crow II, 2024

kilnformed and sandblasted glass
H:7cm W:11cm
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Crow III, 2024

kilnformed and sandblasted glass
H:7cm W:11cm
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Crow IV, 2024

kilnformed and sandblasted glass
H:7cm W:11cm
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Crow V, 2024

kilnformed and sandblasted glass
H:7cm W:11cm
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Blue Tit III (duo set), 2024

kilnformed and sandblasted glass
H:5cm W:5cm
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Blue Tit IV (duo set), 2024

kilnformed and sandblasted glass
H:5cm W:5cm
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Blue Tit V (duo set), 2024

kilnformed and sandblasted glass
H:5cm W:5cm
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Blue Tit VI (duo set), 2024

kilnformed and sandblasted glass
H:5cm W:5cm
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Blue Tit VII (duo set), 2024

kilnformed and sandblasted glass
H:5cm W:5cm
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Bullfinch I, 2024

kilnformed and sandblasted glass
H:7cm W:5cm
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Bullfinch III, 2024

kilnformed and sandblasted glass
H:7cm D:4cm
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Bullfinch IV, 2024

kilnformed and sandblasted glass
H:7cm D:5cm
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Tomorrow’s Conscience – Large Owl Vessel, 2024

kilnformed and sandblasted glass
H:16cm W:57cm D:30cm
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Bessemer Upglare – Large Heron Vessel, 2024

kilnformed and sandblasted glass
H:15cm W:56cm D:29cm
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First Instructions (Crow), 2024

medium round vessel, kilnformed and sandblasted glass
H:13.5cm D:28cm
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Crow and the Ice Cream (extra small duo set), 2024

kilnformed and sandblasted glass
H:5cm W:5cm
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Sparrow II, 2024

kilnformed and sandblasted glass
H:5cm W:5cm
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Sparrow Vessels, 2024

kilnformed and sandblasted glass
H:4-5cm D:5cm
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Photography by Kim Ayres
Born: 1970

Originally trained in Biomedical Sciences (Pharmacology) and Clinical Sciences, Amanda became interested in glass in 2002 after a stained glass course with Ray Bradley and then pursued a postgraduate in Glass and Architecture from Central St Martins College of Art and Design, London, in 2004. Amanda currently works from her studio in Dumfries and Galloway.

‘I make kiln formed glass objects, playing with gravity in the kiln. Manipulating mass, heat, colour and time I aim to create complex, elusive work that has intense colour and pattern which reacts to the light it is placed in. I use opaque glass powders to construct my work because of its varying translucency as the form elongates in the kiln. I finish the kiln fired pieces using many cold working processes to shape and mark the glass including sandblasting, hand lapping and diamond point and wheel engraving.’ – Amanda Simmons

Public Collections include: National Museums Scotland, Edinburgh; Ernsting-Stiftung Glass Museum, Germany; The Fitzwilliam Museum, Cambridge; Perth Museum and Art Gallery, Scotland

Amanda Simmons presents a new collection of glass vessels in her solo exhibition, We Are Crow, in March 2024.


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