• Belt

      Bird-Jones, Christine (2002)
      Chris Bird-Jones developed a series and then exhibited three glass/textile pieces, on the theme of the ‘Belt’ for the 7th Womens International Glass Network Exhibition, curated by Holly Sandford and Linda Chalmers, at the Lane Gallery. The Women’s Glass Network sustains dialogue that foregrounds experience and knowledge relative to practice. This includes observing and discussing the creative process of others as a key to developing tacit and technical knowledge. From this dialogue, Bird-Jones’ work stands out through her integration of Reusche enamels into the use of glass on textile objects to achieve special effects of colour and light. The glass components were painted and fired with Reusche enamels introduced by fellow-artist Marie Foucault-Phipps and predominantly used in restoration of stained glass. Through exploration of sample firings and finishes, trace colours were combined with silver nitrate. Bird-Jones developed an intricate pattern of filtered and coloured reflected light, characteristic of many of her works.
    • Commemorative Window

      Bird-Jones, Christine (2003)
      A large (30’x12’) window in Bethania Chapel, Bethesda, North Wales, commissioned in memory of the 1900-1903 Slate Quarrymen’s Strike in Bethesda. The final window design was based upon ideas and images that address the village’s essential relationship to the landscape and its slate bedrock. Central feature of the work was a window within the window, placed upon a slate stone windowsill. The piece is constructed of three layers of antique glass, enamelled glass and blown glass. For this project, Bird-Jones researched the artistic translation of collective social memory. She conducted a significant collaborative inquiry with community members and school groups during her residency to understand local memory and contemporary narrative, as a basis for developing artistic and technical plans for the window. Extensive social, historical and visual research was conducted. Discovery of visual as well as social remnants of the strike directly influenced the design of the window. Images in texts etched into slate, in homes, the public space and in the landscape, and the particular weather and light qualities of the nearby mountains informed the transparency and opacity of the window design. Experience of the enduring social split following the strike led the design’s conceptual content, the inscriptions of 1000 villagers on the window, a process symbolically bringing together families split for a century. Bird-Jones worked with 3 German fabrication studios running experiments with technique, materials and processes before developing sample panels for the window.
    • Embryonic

      Bird-Jones, Christine (2006)
      “Embryonic” was the first of a series of collaborative works with video artist Heald. The result was a collaborative installation utilising translucency and transparency in both film and kiln formed glass. Two years ago both artists identified a common interest and focus in each other’s work concerning light and movement. Heald was developing projections of her film works onto objects; Bird-Jones was experimenting with moving image in glass. The ensuing collaboration set out to explore how joining both media could enhance the effect of the ephemeral qualities common to both film and glass. These qualities were taken to be: translucency and transparency; and the static quality of glass created from liquid and the dynamic form of video film based on static script or code. Several glass samples were produced and experimented with by the collaborators in the studio. They experimented with Bullseye and Float glass, tack fusing crushed base glass seeking an appropriate and evocative surface to receive the projected film. Material and visual research was conducted concerning scale, size, fixings and juxtaposition of material.