Craft and Arts International, issue 91, 2015
Fresh Air Catalogue 2015
Glass Glamour Catalogue 2015
The Coburg Prize for Contemporary Glass, page 140, 2014
UK Glass by GlazenHuis page 13, 2014
British Glass Biennale Selected Show, Page 39, 2012
Neues Glas Magazine, Page 56, Winter Issue 2010 2011
Craft & Design Magazine, Issue 213, pages 10-12 feature article, 2011
Kiln Forming Glass 2010 by Helga Watkins Baker, Page’s :25-116-117-127198-215 2010
British Glass Biennale Catalogue 2010
Cotswold Life magazine 2010
SOFA New York Catalogue Represented by CAA 2010
Objects of Desire booklet by Simon Bruntnell 2010
New Glass NZSAG Newzealand Society of Artist in Glass inc, Newsletter 2009
Dan Klein review ‘On the Edge’ Crafts Council UK 2009
Fresh Air Catalogue 2009
Bonhams Art Catalogue 2009
Contemporary Glass Society Newsletter Article 2009
Duncan Macgregor Gloucestershire review August 2008
British Glass Biennale Catalogue 2008
On The Edge Catalogue 2008
Crafts Magazine, Issue 213, 2008
Arts Council England West Mids Issue: 29 2008
Tempest Bead Show Catalogue 2008
Side by Side Catalogue 2007
Fresh Air Catalogue 2006
British Glass Biennale Catalogue 2004
Trained in design, Fiaz Elson only made the transition to working with glass in 1998 when she did the highly regarded glass course at Staffordshire University. Since graduating in 2001 she has established herself as one of the most original glass artists. Gallery owners have been quick to appreciate her work and she has an impressive list of exhibitions to her name in New York, Switzerland and in Britain.
In 2004 she was one of the selected artists in the prestigious British Glass Biennale Exhibition in Stourbridge. From her work called ‘Passion’, a 30cm long sculpture shaped as a flat tear-shape with vibrant blood red and black the predominant colours, it was easy to see why her work has been variously described as “seductive, monumental and mysterious”. The monumental quality is apparent on whatever scale she decides to work.
Most recently she has ventured into garden commissions with one exceptional piece called ‘Parallel Verve’ to be shown at the ‘In and Out’ Art Glass Exhibition as part of the Fresh Air Art event in Cirencester in the autumn of 2008.
The sculpture consisting of two monoliths is simultaneously transparent and solid depending on the angle of sight and the movement of the spectator around the garden. But equally she can achieve the same dramatic effects in a tiny 10 cm. bead shown in the ‘Tempest’ Glass Bead Exhibition as part of the International Glass Festival in Stourbridge in August 2008.
Entitled “Calm Before The Storm” the tiny jewel is kiln cast using optical glass in which she also uses fritted glass, a glass batch which has been melted and ground, to deliberately produce random bubbles and veils in the glass as it fuses together in the mould. Elson’s total command of her material especially the technically difficult casting processes and her original combination of polishing effects, allows her to express her stated intent to suggest hidden spaces, containment and emotions with an ease usually more apparent in more mature glass artists.
Already a highly respected glass sculptor the more recent evidence of her works makes her a must-have in any collection of studio glass.
Charles R. Hajdamach
My work is expressive in its form, provoking an emotional and intellectual response. It explores our emotive worlds, experiences and memories make us who we are. We all have several sides to our personalities, consciously or unconsciously we reveal or keep them hidden. This concept is expressed through the use of curves, angles and space.
Each piece has a relationship with the interior and exterior structure, bending, distorting and refracting light, creating a dynamic energy between colour and form. The space between the pieces is very specific, not too wide as to separate them and not too close to join as one. The fissure creates a tension, pushing and pulling representing the constant contradictions of persona, negative and positive, harmony and discord, clarity and obscurity, whilst the inner space of the lenses and grooves represent our private sides, a place you are not always allowed in, an inner sanctuary.
Keeping the sculptures minimal, their powerful presence naked of pattern or texture, allows the glass itself to convey the concept.