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Michael James Hunter earned his title of
master glass maker from a traditional style apprenticeship served at Wedgwood glass, working in teams he has ascended from
the most basic job in the hot house to a master chairing his own team over an 11 year period. Michael feels that he received
some of the best training available in the UK at the time, and is proud of his background which makes him unique in the UK
to have successfully made the cross over into contemporary studio glass. ”What is exciting about glass is I never
stop learning, the more techniques I master the more creative and challenging designing becomes it just continues to intensify
the passion I have for this medium”. Michael founded his own studio in1998 with his wife Sue. He made national
headlines when he collaborated with Asprey and designed and made candleholders in elegant filigree twists for the New York
store in the first months of founding Twists glass studio. His first acknowledged demonstration was in 1999 at the Broadfield
House Glass Museum. He was honoured with the title Scottish Artisan of the year in 2002 by Balvenie, since which time he has
been awarded three other design awards for best collectable and best design to be sold in a museum or a gallery in the UK. Michael James Hunter has exhibited his work extensively in the UK including solo and group exhibitions which include the
Guild Hall London and the V&A after twice being in the distinguished final three of the British Glass technology award.
In 2006 he gave a presentation at Wheaton paperweight fest on the making of his Murrine clown face canes, during the summer
of 2006 he was successful in gaining a place and a bursary to study a master class with Richard Marquis at Northlands Creative
Glass centre in Scotland. Since studying with Richard Marquis he feels that the introduction to the pastorale technique
has advanced his efforts to be more innovative and has helped him demonstrate investigation of process and critical enquiry.
Michael’s demonstration during the paperweight fest in 2008 investigated the boundaries of what is a paperweight using
the pastorale technique. Principal influences include Venetian artists such as Dino Martens. Michaels work incorporates
complex cane work much of which has been self taught by investigation, experimentation and error, he is proficient in the
incalmo technique and continues to investigate and explore the relationship he shares with glass Peoples conception
of an artist usually revolves around some form of training be it formal or other, for my self training means restriction ,
to be categorised, filed and placed in a box, when standing out side of these restrictions the view becomes far greater therefore
I as an artist form my own individual limitations and boundaries. A greater part of the skill behind the creator is understanding
the journey that a particular piece underwent , not just in design but also the trial and error before conclusion . The
concept of my work significantly promotes discussion by exploring cane working in glass, and how the past juxtaposes not only
with the present but also with the future, concluding in individual and contemporary blown vessels of elaborate adornment
.Because cane working involves discipline the challenge is to make each piece with meticulous precision and execute control
in every movement so that the final result of the finished piece leaves no doubt in the mind of the enquirer that no random
unintentional movements have been made during its making period with a pleasing form, allowing the artistry of cane work a
greater aesthetic impact at its presentation. Being self taught in the most difficult of disciplines this enquiry into process
has been necessary and worthwhile journey that some would call “ trial and error” but the experience and knowledge
gained during this learning curve is in my view essential and necessary to be an artist in glass.
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Copyright: 26-04-2006 Website designed
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