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David Reekie

"A unique vision of the human condition..."

 Meet David Reekie Image

Meet David Reekie

David Reekie is an internationally renowned glass artist, whose work interrogates themes of politics, society and the self.

Reekie’s work is held by a number of museums and galleries across the world, and he is highly respected for his innovative approach to lost wax casting.

My work is influenced by man’s reaction and adaptation to the society in which he lives. We live in a world that grows more complex and difficult to comprehend, with its tensions and temptations that pull us in different directions.” – David Reekie


David Reekie was born in Hackney, London in May 1947 and studied Glass and Ceramics at Stourbridge College of Art 1967-70. In 1975-1985 he was awarded a Fellowship in Glass by Lincolnshire and Humberside Arts. In 1976 he was one of the founder members of British Artists in Glass. From 1976-86 he lectured in glass at North Staffordshire Polytechnic. He moved to Norwich in 1986 where he set up his own studio.

In 1988 he was awarded a Winston Churchill Fellowship to study Alternative Architectural Glass in U.S.A. From 1994-97 he was appointed an International Council Member to Pilchuck Glass. In 1998 he was short listed for the Jerwood Prize for Glass and his work was selected for exhibition at the G8 Summit in Birmingham.

In 2002 he was appointed a member of the Advisory Council for North Lands Creative Glass, Scotland. In 2004 David was invited to attend a reception given at Buckingham Palace to celebrate British Design.

He was invited to lecture at Collect, V&A Museum, London in 2005. In 2006 his work was shortlisted for Coburg Glass Prize, Germany. In 2007 he was invited to speak at CGS Conference ‘Looking into Glass’ and in 2008 he was a speaker at the Creative Pathways Symposium, at the University of Wolverhampton UK.

In 2009 David carried out a Residency at South Australia School of Art, in Adelaide and also lectured at the University of SA.

In 2011 he gave a casting workshop & lecture, Fire Station Sculpture Studios, Dublin, Ireland and lectured at the National College of Art & Design, Dublin, Ireland. He was also invited to lecture at the Hong Kong Baptist University, Faculty of Arts and gave a casting workshop at the Wanganui Glass Festival, New Zealand and lecture at the Sarjeant Art Gallery, Wanganui, New Zealand.

In 2011 he was awarded an Honorary Degree of Doctor of Arts from the University of Wolverhampton.

In 2013, David was invited back to Hong Kong to teach a glass casting workshop at the Baptist University and to take part in a joint exhibition, Confluence, with glass artist Sunny Wang, at the Hong Kong Visual Arts Centre.

In 2014 he was invited to teach two workshops at the Blue Dog Studios in Melbourne and at the Art Glass Studios in Perth, Australia.

In 2015, he was invited as one of five judges for the British Glass Biennale in Stourbridge, UK.

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Artist Statement

“Although glass is my main medium I do not glorify it as a material, in fact I manipulate it in a way that almost destroys its beauty to create a much darker feel to my ideas. I also like to use other materials and found objects in my work that fit to the narrative I am trying to form.

I am driven by a desire to make things and during this making process I have the effects and qualities that glass can give me at the back of my mind. There are elements of both design and decoration in my work and because I use the human figure I find it relatively simple to introduce a narrative which suggests any particular theme or idea I am working on. 

Politics and how society affects our lives is always a constant influence. In my current work I am investigating relationships. By using the juxtaposition of the figures, facial expressions, especially the position of the eyes and the angle of the head I try to indicate subtle nuances in our relationships with each other. I combine all these influences in my drawings and these eventually filter through to the work. 

Casting and lost wax casting are my main techniques and I find these processes allow me to explore and develop my ideas even before I touch the glass. By modelling in clay and wax I have the freedom to gradually build my ideas and change things as I go along. I have also developed the use of ceramic enamel colours that I can use both in the glass itself and on the mould surface to create effects that mirror those in my drawings.”

– David Reekie

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