Adam Hussain (A H Contemporary Glass)
This year I am having a bit of a reset with my studio practice. I’m currently in the process of moving my studio back home to Chapelfields in Coventry, after been away from it for seven years. For three years I had a working studio and gallery at the Custard Factory in Digbeth and for the last four years, I’ve had my studio and the ‘Blue Door Gallery’ in Earlsdon, Coventry.
As much as I have enjoyed having commercial studio and gallery spaces, it has been a balancing act between my own creativity and organising and curating exhibitions for local artists.
This year is all about having more time to focus and develop my own creative skills and art glass business. I am planning to take part in more art events and exhibitions, both locally and nationally. I’m looking forward to seeing what new opportunities arise within my studio practice.
"My glass collections are inspired by a number of different subjects. There are running themes throughout most of my art, which are architecture, cities and landscapes. \nMy bespoke cityscape wall artworks are inspired by my city skyline images, these are my most intricate pieces. Sometimes my black and white photography of architecture and flowers are also incorporated into my kiln-formed glass.\nOne of my latest collections ‘From Above’ are inspired by satellite imagery of cities, landscapes and temperature maps. These are my most abstract artworks to date and I will be developing these in the future. \nI enjoy working to commission briefs, private commissions and themes for gallery exhibitions, that I would not usually choose to be inspired by. These are sometimes a bit of challenge, but they do make me think outside of my comfort zone, some of these past themes include haiku, heatwave, construction, trucks and The Beatles."
I specialise in kiln-formed glass processes and I only use ‘Bullseye’ glass materials to create my artworks, for its supreme quality and vast range of colours and products.
Within Contemporary Craft circles, I’m known mainly for using 1mm glass stringers (rods). I don’t just use a few, I cover the whole sheet of glass with them, from coasters to large wall installations. These designs range from intricate geo-metric patterns to abstract cityscapes.
My latest collections have lots of small pieces of glass to create my designs, inspired by satellite imagery. Each piece of glass is hand cut, all the edges are then cold worked on a grinding wheel and finished with diamond pads. This is a timely process, but the neater that the edges are, the better that the overall finish will be. If needed, I sometimes cold work and polish my artworks, after they come out of the kiln?