I  take great pains to work with unblemished glass,  even though in many pieces I will later be cutting, abrading, engraving and adding other materials to the surface.   With water goes salt-encrusting and rust.  With fire goes charred ruins.  I use the extreme contrast between this kind of texture and the purity of the glass, sometimes to make a point and sometimes because it’s beautiful.

These are all fluid elements and movement is paramount in my work; no form or imagery stands still.  A glass vessel is an ever-moving double canvas.  One engraved overlaid bowl `Belladonna’  (above) - possibly my favourite - is a good example; as you move round it, the imagery appears to flow, following the lines of the glass.  It was bought by a choreographer from Frankfurt, Bea Blell, who was inspired by this feature and built a ballet on the storyline.