Saint Mary s Church Sulhamstead Abbotts

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1 Saint Mary s Church Sulhamstead Abbotts Rachel Phillips 2015

2 CONTENTS Introduction Page.2 Design Proposal Overview Page.3 Design Proposal Page.4 Installation Rationale* Page.6 Quote Page.7 APPENDICES 1. Church Plan and Existing Windows* Page Rachel Phillips CV Page.15 (*Courtesy of Alun Adams, Architectural Glass Centre Co-ordinator, Swansea. University if Wales Trinity St David) 1

I am delighted to have been asked to add to the continued story of Saint Mary s Church through the design and creation of a new stained glass window.

3 INTRODUCTION Saint Mary s Church in Sulhamstead Abbots is a delightful 13 th Century church, cared for and maintained by its congregation. Its beauty lies in its architectural form and a variety of features ranging from the Romanesque font to the elegant Ninian Comper East window, reredos and altar frontal. I am delighted to have been asked to add to the continued story of Saint Mary s Church through the design and creation of a new stained glass window. The window in question is the 2-light rectangular window that is found in the south wall by the entrance door. It is marked SIV in the church plan below. (A larger version can be found on page 7) SIV Window I am stained glass artist who lives and works in West Wales. I design and make new work for churches, private, corporate and public buildings and specialize in the use of traditional stained glass techniques such as glass painting, staining and etching and have lectured in these subjects at the Swansea School of Glass, part of University of Wales Trinity St David, since I have experience working with historic and listed buildings including a recent commission for the Royal Chapel at Conwy Castle, a World Heritage Site. I first visited the church in September 2014 to discuss the project and have since met the donor and other involved parties to discuss ideas and really get a feel for the building. The design process is one that I relish and I view a commission such as this as an opportunity to produce a piece of art that adds to the building as a whole; one that honours its surroundings but also brings its own flavour as a contemporary piece of work. 2

DESIGN PROPOSAL OVERVIEW Having spent time in the church and discussed the design with several invested parties including the Donor, one of the main themes that manifested itself was that of

These all featured as part of this theme as did the children themselves as the present and future of the church and community.

Family in this context is to be understood to mean both biological and spiritual.

This again speaks of the continuation in the life of the church and entry, via baptism, into new life through Christ.

4 DESIGN PROPOSAL OVERVIEW Having spent time in the church and discussed the design with several invested parties including the Donor, one of the main themes that manifested itself was that of continuation; of the church building itself; the church family and the donor's family; links to the local school both generally and directly, (via the Donor s daughter). These all featured as part of this theme as did the children themselves as the present and future of the church and community. I have taken up this theme of continuation as a start point for the design as expressed through remembering family past, celebrating family present and anticipating family future. Family in this context is to be understood to mean both biological and spiritual. The window overlooks the beautiful early medieval font; the spiritual point of entry into the church, symbolically placed at the physical point of entry. This again speaks of the continuation in the life of the church and entry, via baptism, into new life through Christ. Visually, I would like to retain lightness in that corner of the church but, as a predominantly south facing window, it will enjoy having some areas of richer colour without compromising the light levels. I'd like to echo the wonderful calm blue found elsewhere in the interior, (especially in the Comper East window, reredos and altar frontal), whilst introducing some small, vibrant areas of richer colour. I wish to echo qualities found in those features, namely lightness, delicacy, strength, ornament as well as those of the monumental and more robust qualities of the stone and timber work throughout the building. The existing windows in the rest of the church are comprised of a variety of Victorian and early 20 th Century glass in a number of styles including the aforementioned Comper East window(s),clayton and Bell as well as plainer, diamond-quarry glazing. There is a Christcentric theme running through the windows from Christ as Good Shepherd to narrative scenes from Christ s parables. These, alongside other features such as stonework, remnants of all painting and stone work, have all informed the final design. 3 East Window Font Altar Frontal detail (Comper) Light falling

DESIGN PROPOSAL You are the Vine, We are the Branches John 15 v 5 The design echoes a 'Jesse Tree', a form used continuously since its first appearance in medieval windows to depict the genealogy, or

5 DESIGN PROPOSAL You are the Vine, We are the Branches John 15 v 5 The design echoes a 'Jesse Tree', a form used continuously since its first appearance in medieval windows to depict the genealogy, or family tree, of Christ. This form is used to express the themes of continuation and family, both spiritual and physical, simultaneously. The Tree is set spanning the two lights of the window and is set in front of a rounded arch that echoes the Romanesque arches on the font below. The central mullion that separates the two lights acts as the trunk, or core, of the tree so that the church fabric is literally part of the design. This design unifies the window and contains enough detail to excite the eye but not too much to be unintelligible for the viewer below. It is a strong, vibrant piece that 4

6 hints at the heritage and foundation of the church and its development whilst being very much a work of its own time. The two sides have sinuous, growing branches and each one has flowering, leafy or budding elements that symbolise individuals whether the full flowering of adulthood or the potential of a seed symbolising childhood. I propose that the outer border will contain various decorative elements inspired by the church itself i.e., stonework motifs, wall painting, carving, glass, painting, pattern, tiles etc. Researching and reproducing these elements could help form a drawing/history etc. project for the local school children. They could investigate and draw what they see in and around the church and the resulting imagery be translated into glass. 5

7 INSTALLATION RATIONALE St. Mary, Sulhamstead. As a grade 1 listed building it is important that as much original material is maintained as is possible and any work carried out has minimal impact on either the external or internal aesthetic. In relation to the fitting of a new stained glass window designed by Rachel Phillips: 1. Remove existing window. This window has been fitted/pointed using Portland cement. This will be carefully removed to minimise any damage to the surrounding stonework. 2. Remove the existing hopper. A decision needs be sought as to whether or not the hopper needs to be reinstated. If being reinstated the hopper will be cleaned/blasted to de-rust and painted with a rust-inhibiting system such as zinc rich primer and top coat micaceous oxide. 3. An examination of the external ferramenta shows it to be sound. It will be cleaned to de-rust and painted with a rust-inhibiting system such as zinc rich primer and top coat micaceous oxide. 4. Re-fit hopper if required. 5. New window will be fitted using a lime based mortar. Window will need to be fitted from inside because of the position of the ferramenta. Temporary scaffold will be set up for access. It will be for others to obtain whatever permissions are required for the work to proceed. Alun Adams Architectural Glass Centre Co-ordinator. 3 rd March

8 R a c h e l P h i l l i p s G l a s s QUOTE : Design, make and install a new Stained Glass window St Mary s Church, Sulhamstead Abbotts, Reading, UK. Date: 31/3/2015 Tree of Life 2015 The window will be made by the artist using traditional stained glass techniques, i.e, handmade, stained and painted glass held within a lead matrix. Window to be fitted as per the installation rationale described in this document. Design and Manufacture: 3800 Installation : 855* *(This does not include a provision for a new hopper. This can be provided and fitted at an additional cost of Please refer to installation rationale for details) TOTAL 4655 Payment details: Payments will be invoiced in two equal instalments of 1600 with a final payment of 1455 at the following points: 1. Immediately upon work being commissioned based on this quote and design (Having been formally agreed by the donor and all involved parties, i.e., PCC, DAC.) Commission to be confirmed in writing. 2. At a mid- point. (Exact date to be confirmed in writing by the artist after a commissioning date has been agreed.) 3. Upon completion. (To include installation) The window will take approximately weeks to make. The start date is dependent upon receipt of the 1 st instalment payment. Installation will be arranged at a mutually convenient date to coincide with when the finished window is available. This quote is valid for 6 months. 7

9 APPENDIX 1 CHURCH PLAN Saint Mary s Church, Sulhamstead Abbotts. 8

10 East Window. 9 S I.

11 S II. 10 S III

12 S IV. (Internal) 11 S IV. (External)

13 West Window 12 N V.

14 N IV. N III. 13

15 NII. 14 NI.

16 APPENDIX 2: Rachel Phillips CV 15

R a c h e l P h i l l i p s G l a s s A r t i s t Yr Aelwyd, Maenclochog, Pembrokeshire. SA66 7LF 01437 532401 rachelphillipsglass.

17 R a c h e l P h i l l i p s G l a s s A r t i s t Yr Aelwyd, Maenclochog, Pembrokeshire. SA66 7LF rachelphillipsglass.com BORN 1973 EDUCATION BA(Hons)Architectural Stained Glass. Swansea School of Glass, SIHE AWARDS 2001 Ashton Hill Award for Excellence Worshipful Company of Glaziers EMPLOYMENT Present Lecturer. Swansea School of Glass, Swansea Met Stained Glass Restorer. Architectural Glass Centre, Swansea Lecturer Swansea School of Glass, Swansea Met Present. Glass Artist 2001 Restoration Studio Placement HolyWell Glass, Wells, Somerset. EXHIBITIONS 2012 Games: Inspired by Glass Swansea School, British Society of Glass National Waterfront Museum, Swansea 2012 Then and Now: Class of 2000 National Waterfront Museum, Swansea 2010 Love Swansea Glass National Waterfront Museum, Swansea 2010 Swansea Valentine National Waterfront Museum, Swansea 2009 A Glimpse into the Archives National Waterfront Museum, Swansea cm British Society of Master Glass Painters, C Gallery, London and Stained Glass Museu 2006 Solo Exhibition Queens Hall, Narberth, Wales New Designers Exhibition London Architectural Glass 2000 Swansea Institute Diverse Manners Newport, Wales Glass Art Ebbw Vale, Wales Walking the Street Sydney, Australia 16

18 SELECTED COMMISSIONS (WINDOWS UNLESS INDICATED OTHERWISE) 2014 CYSGOD Y COED(SHELTER OF THE TREES) FAMILY HOUSING ASSOCIATION, CRYMYCH,WALES (WITH LINDA NORRIS) 2014 RESURRECTION GARDEN ST MARY S CHURCH, WYTHALL, BIRMINGHAM 2014 TO DWELL ALONE BIRD OBSERVATORY, SKOKHOLM ISLAND (WITH LINDA NORRIS) 2013 GOOD SAMARITAN ST PETER S CHURCH, PETERSTON-SUPER-ELY, CARDIFF 2012 ROYAL CHAPEL CONWY CASTLE, NORTH WALES (WITH LINDA NORRIS) 2011 ST BARNABAS ST BARNABAS CHURCH, WARNARLWYDD, SWANSEA 2010 TREE OF LIFE ST JOHN S CHURCH, WESTON RHYN, OSWESTRY 2010 MARY AND INFANT CHRIST ST PETERS CHURCH, ABERBARGOED 2009 FIRE PRIVATE RESIDENCE, MAENCLOCHOG, WALES 2008 RESURRECTION ST HELEN S CATHOLIC CHURCH, BARRY 2007 LLYS GLAS BOARDROOM LLYS GLAS, SWANSEA, WALES 2007 MEMORIAL WINDOW LLANDYBIE PUBLIC HALL, LLANDYBIE, WALES 2007 FUSED LEAVES WINDOW CLUNDERWEN, WALES 2007 FIVE SCENES OF CHRIST S LIFE CHURCH OF ST DAVID AND ST PATRICK WINDOWS OF COMPASSION ST BENEDICT S CHURCH, CLYDACH ST DAVID AND ST MARY ST DAVID S CHURCH, MARGAM, SWANSEA HERALDIC WINDOW DYNEFOR SCHOOL, SWANSEA SEASON SCREENS DAWN PAC HEADQUARTERS, CARMARTHENSHIRE WHITE ROSE WINDOW PRIVATE RESIDENCE, JOHN JONES ARCHITECTS RESTORATION ST NICHOLAS CHURCH, NICHOLASTON, GOWER ST MARY AND CHRIST OUR LADY STAR OF THE SEA, BURRY PORT STAINED GLASS SHIELD LORD MAYOR OF SWANSEA. (PRESENTATION PIECE) 2003 FALLING FORMS PRIVATE RESIDENCE, LLANDYFAELOG RIVER OF LIFE NEW LIFE CHURCH, CARDIGAN. (FUSED GLASS WALL SCULPTURE) 2002 RESTORATION ST PAUL S CHURCH, SOUTHAMPTON SCHOOL WINDOW CATWG PRIMARY SCHOOL, PORT TALBOT ST PETER AND ST PAUL CHURCH OF ST PETER AND ST PAUL, NEATH NATIVITY CHRIST CHURCH, RADYR, CARDIFF PRIMAVERA CONFREY SOLICITORS OFFICES, CARDIFF. (IN COLLABORATION WITH CLIVE HICKS-JENKINS.) 17

19 R a c h e l P h i l l i p s G l a s s A r t i s t Yr Aelwyd, Maenclochog, Pembrokeshire. SA66 7LF rachelphillipsglass.com Artist Statement I am an artist who works with stained glass as an applied art in architecture. I specialise in using traditional techniques of stained glass; glass painting, staining and leading, alongside contemporary techniques in the creation of commissioned windows and other site-specific architectural glass works. I live and work in West Wales, having originally moved here to study at the internationally recognised School of Glass in Swansea. After graduating with honours I opened my studio and have, since then, worked on a variety of projects including restoration work, public, private and ecclesiastical commissions. I regularly design and make my own work alongside collaboration with other studios and professionals. I enjoy the collaborative relationship that exists between the client, building and artist during the process of creating work and relish each stage of the process, from design to manufacture. I specialise in traditional glass painting and often employ this, alongside other surface techniques, in the realisation of my own designs. I also lecture at the Swansea School of Glass. 18

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