• ‘Brainwave’, centrifugally cast forms

      Garfoot, Stuart (2004)
      Based on the conceptual intentions of previous work to capture the phenomenon of growth and decay in underwater environments. In this series Garfoot extended his investigation into the relationship of technical process and artistic expression through a specific focus on the use of one-off resin-sand moulds and the centrifuge to capture images and perceptions of coral formations and accretions. The process in this project was focused upon the manufacture and testing of single trip moulds; with detail inclusions of small glass elements to extend the use of the centrifuge. The intention being to create a diversity of texture and glass quality in the resulting form.
    • Glass Routes: from Wolverhampton to China

      Garfoot, Stuart (University of Wolverhampton: CADRE Publications, 2008)
      The ‘GlassRoutes’ exhibition and catalogue examines the role and impact of Professor Keith Cummings upon glass education in the UK and China. Through his work at Stourbridge College and the University of Wolverhampton Keith has proved guidance, support and career advice to some of the most important international glass artists. The exhibition looks back through forty years of work; examining the range of work produced by Cummings in glass and metal as well as in drawings and paintings. His work is contextualized amongst his colleagues in the glass world, which include a range of former students who are now academics, artists, designers and respected glass makers. Over the last forty years, Keith has influenced the present and future generations of glass artists and designers all over the world. The exhibition and catalogue specifically examines the effects of the University of Wolverhampton glass programme upon newly established university programmes in studio glass in Shanghai and Beijing.
    • Poseidon’s Paradise

      Garfoot, Stuart (2005)
      Garfoot uses industrial production systems and works with the inherent conflicts central to that process in order to express the ephemeral and natural qualities found in singular artifacts rather than production runs. He maintains technical control while allowing the work to develop which projects a sense of harmony with the natural world. Extending the technical options of previous work, for this series Garfoot experimented with adding glass blowing to the process of centrifugal glass casting to achieve his conceptual intentions. He used standard bronze casting moulds (resin bonded sand moulds from a master form) as the base canvas for his production. He then goes back into the mould to carve it and add details. He shaped the mould to produce a series of facets in relief which trapped and transmitted light. This method resulted in a unique singular product from what is ostensibly an industrial process. The development and extension of existing glass techniques and processes to express the forms and textures derived from marine conditions. Through the use and combination of centrifuge, hot working and cutting, glass sculptural pieces are created that are analogous to underwater growth.
    • Strata, Ice Chi, Ice Trumpets

      Garfoot, Stuart (2006)
      In each of six pieces, Garfoot experimented with different combinations of technique to emulate the richness of form, texture, glow, growth and decay found in corals, and other sea life. A former industry designer, Garfoot’s research seeks to extend and develop knowledge about conventional processes through the development of new relationships between divergent techniques, which in turn offers new potential for artistic expression. Garfoot is expert in a variety of processes and innovative combinations of processes, integrating glass-blowing and kiln-casting with centrifugal casting. Using these industrial processes, he has developed methods to subvert or ‘degrade’ them in order to produce semi-industrial individual pieces of artistic quality. This method of ‘degradation’ of industrial processes through manual intervention serves as a basis for, and analogy with Garfoot’s conceptual intention of portraying the subtle balance between the struggle for survival of the natural life of the undersea coral beds and the effect on them from human post industrial and material fallout which has resulted in the degradation of these natural life forms.
    • ‘Strata’ (x3)

      Garfoot, Stuart (2006)
      “Strata” is a family of forms linked in terms of shape and surface finish in such a way that one relates to another and the condition of one generates the other. This project extends previous developments through an emphasis on the relational aspect of the forms created, and through experimenting with clear glass in relation to light. The project used the centrifuge process producing clear unadulterated glass forms; optically pure so that the relief and light qualities transcend one form and leap into the next. Where other pieces are unique – this is a family of objects developed within a concept of natural systems rather than the industrial concept of repetitive forms. The process involves the design, production and testing of single-use resin-sand moulds. Working from a reproducible base form an original mould was generated; Garfoot then worked into the mould itself which resulted at once in consistency and variation. The singular nature of each cast object allowed for the creation of the family of pieces.