Sculpting Light - A solo exhibition by Tim Rawlinson
15 September - 8 October
Click here to watch an exhibition tour and demonstration
We were excited to present a new body of work by our very own, Tim Rawlinson, for his solo exhibition, Sculpting Light. For this show, Tim had redeveloped his ongoing series, Echoes of Light, drawing inspiration from Barbara Hepworth's renowned exhibition, Art & Life, in St Ives. Tim's exploration of Hepworth's sculptures, particularly the interplay of negative space, had sparked the idea to embrace more organic and oval forms.
A solo show of this scale by one artist shows immense creativity, diversity and dedication. Alongside his recognisable series and exciting new developments, Tim debuted a brand new and unseen selection of wall panels. Tim's stunning new artworks converge light, glass and creativity to evoke great fascination. His work pushes boundaries and invites you to contemplate the ethereal nature of light.
Our Stories
Women in Glass - Exhibition Open Call
London Glassblowing invites applications from UK-based women working in glass to take part in Women in Glass, a group exhibition opening in September 2027 to coincide with the studio's celebration of Peter Layton's ninetieth birthday. We are pleased to welcome back Cathryn Shilling, London Glassblowing's gallery curator from 2010 to 2019, who returns as guest curator for this special exhibition.
A Bermondsey Street Collaboration
Renowned glass artist and founder of London Glassblowing, Peter Layton, has collaborated with old friend and celebrity chef, José Pizarro, to create 30 limited-edition platters, launching on 12 October, to celebrate the 15th anniversary of José Pizarro on Bermondsey Street and the 50th anniversary of London Glassblowing.
The Alchemist at Work: An Interview with Peter Layton
For Peter Layton's solo exhibition, our Marketing and Sales Assistant Eva sat down with Peter to talk about alchemy - from his birth in Prague, a city steeped in alchemical history, to the alchemy he finds in glass itself. Read on to hear how Peter revisited his earlier works for this exhibition, and why he chose to return to the dangerous iridising process.