We’re thrilled to be returning to New Designers 2025, where our Founder Peter Layton and Gallery Director Gena Johns are presenting the London Glassblowing Award on 4 July. New Designers - The UK's most established graduate design showcase has been championing the future of design since 1985. 

The transition from art student to professional practitioner is never straightforward, but for glass artists, the path can be particularly challenging. With specialised equipment, expensive materials, and a shrinking number of university programs, breaking into the glass art world requires determination and strategic networking.

In this blog, we speak with accomplished glass artists Dr. Helen Slater Stokes and Katherine Huskie about their early career experiences - from finding mentors and studio spaces to balancing commercial work with artistic experimentation. Their candid insights reveal both the obstacles and opportunities that define contemporary glass practice, offering valuable guidance for the next generation of makers navigating this demanding but rewarding field.

Dr. Helen Slater Stokes

Dr. Helen Slater Stokes: New Designers launched my glass artwork, post degree. Planning the display and curation of the work gave me critical insights and built on my professional development as an artist. I gained contacts with European Glass Galleries and the following summer I had work in two international exhibitions. 

What were the most crucial early opportunities that helped launch your career as a glass artist?

Dr. Helen Slater Stokes: Contacts with contemporary glass galleries made at New Designers and then the following international exhibitions.

Katherine Huskie: Sunderland University did a graduate grant to take courses if it would benefit your career and I got it to take Scott Chaseling's courses at The Liquid Glass. At the course I had an interview and became an apprentice at Liquid Glass for almost 2 years.

 

What advice would you give to current glass students about transitioning from education to professional practice?

Dr. Helen Slater Stokes: Being a maker/artist/designer isn’t easy, you need to be determined and motivated, whilst always continuing to learn, develop and move your work forward.

When showing your work, remember every event is an opportunity, and you don’t know who will see your work. So always put your all into every work you make and show, to communicate your ideas and overall brand to prospective buyers and gallery curators.

Katherine Huskie: To transition from educational facilities to professional practice I would say be open for opportunities but also proactive, go to exhibitions/events/openings. Most networking happens at them and it's easier to connect in person than sending multiple general emails. Glass artists are sociable and a lot of opportunities can happen in general talking and being at events. 

 

The Current Landscape

With glass courses closing across the UK, how do you think this will impact the future of British glass art? What can the community do to support emerging artists?

Dr. Helen Slater Stokes: The loss of these courses will undoubtedly have an impact on the number of graduates working in glass and so the numbers starting a career as a glassmaker.

As Universities look at the costs involved in these courses, the model for this type of craft-based education needs to change. Alternative routes into becoming a glassmaker need to be created - apprenticeship schemes, certificated short courses, incubator studio support, and mentoring opportunities for graduates are all options. As well as introducing glass at a lower level to inspire young people to want to get involved in working with this amazing material.

 

Katherine Huskie: It is hard to say how it will impact. It is certainly a great loss; however, to try and see any positivity, I hope the courses that stay open will get busier and busier, meaning the courses will be full and dynamic. Glass courses are the most expensive for universities with fewest numbers of students. I hope it means that the courses that continue will get more support. I also feel that if the universities invited working artists to demonstrate and visit more then it would connect the students to the professional world. I know some do and that is incredible but I think there should be more sharing of skills. 

 

How important are graduate showcases and emerging artist platforms for new talent breaking into the field?

Dr. Helen Slater Stokes: They are essential; to launch and kickstart the early careers of these graduates and to support their future development. They can be the difference between a maker surviving or not, as they look for studio space, equipment hire, etc, in order to continue their practice.

Katherine Huskie: They’re very important. These platforms give new glass artists vital exposure to galleries, collectors, and curators early in their careers. Beyond visibility, they help build confidence, networks, and often lead to opportunities like residencies or exhibitions.

 

Studio Culture & Mentorship

Peter Layton is renowned for nurturing emerging talent alongside established artists. How important has mentorship been in your development as an artist?

Dr. Helen Slater Stokes: I was fortunate enough to gain a position in the studio of Rebecca Newnham, a fine art-based glass artist. She ran a small studio in London, and I became her studio assistant just after graduating from my master’s degree at the Royal College of Art. This role gave me new skills, working within the commercial world. As she exhibited at trade shows I learned a lot about pricing, high-end commercial retail and production for these high-end stores.

 

What role do you think established artists and galleries should play in supporting the next generation?

Dr. Helen Slater Stokes: If possible, they should be funded to be able to mentor graduates going forward. Even if it's only a few days a week, this knowledge can really support and enhance a graduate’s career.

Katherine Huskie: I believe that for the next generation to thrive, if galleries are putting on new graduate exhibitions then they should support the artists, in terms of either paying to ship works to galleries or towards professional images etc. It is a hugely expensive industry for artists and I believe that help in the beginning could make a huge difference.

 

Artistic Evolution

Looking back at your earliest professional work, how has your practice evolved? What themes or techniques have remained constant?

Dr. Helen Slater Stokes: I have always been intrigued by drawing, perception and nature. This has been a constant throughout my 30-plus years of glassmaking.

 

How do you balance commercial viability with artistic experimentation in your work?

Dr. Helen Slater Stokes: I work to public and private commissions in addition to making work for galleries. I have always enjoyed the challenge of working to a commission. It’s a very different experience, trying to gain an understanding of what the client is looking for and then designing and proposing possible outcomes. It can take you out of your comfort zone and push you mentally and technically. It’s a real dance and something very different to my personal gallery work at times, but still as enjoyable. I love the mixture of approaches.

Katherine Huskie: I feel I do lean towards commercially viable works. When your sole income relies on your success in selling this can hinder pushing some boundaries. When I have tried to branch out in the past galleries have not taken to the works, making creative expression hard.

 

Supporting Emerging Talent

What do you think emerging glass artists need most to succeed in today's market?

Dr. Helen Slater Stokes: Determination. There isn’t a predetermined plan to becoming a glassmaker, so it is crucial that emerging glass artists are determined that this is the career they want and that they have the confidence in themselves to know that they will get there in the end.

Katherine Huskie: In today’s market, emerging glass artists need a balance of technical skill, creativity, and strong networking. While mastering the craft is fundamental, being able to push boundaries and experiment with new ideas is crucial for standing out. Additionally, building relationships with galleries and other artists is key.

 

What excites you most about the work being created by the newest generation of glass artists?

Dr. Helen Slater Stokes: The way that they challenge conventions - whether they are conventions of making or working with the glass or conceptual idea-based conventions.

 

Looking Forward

What excites you most about the current direction of contemporary glass art?

Dr. Helen Slater Stokes: The huge range of approaches and wide span of visual language that is achieved in contemporary glass.

 

How can the glass community better support and showcase new talent?

Dr. Helen Slater Stokes: More exhibitions around the whole country and internationally that illustrate the real strength that UK glassmakers have to offer.

Mentoring networks, incubator programmes within studios and apprenticeships to support existing and new glassmakers.

Katherine Huskie: I feel the glass community as a whole does support new artists and embrace them. At our studio we offer work experience opportunities and try to help with sending opportunities we see to respective people who could benefit.