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Guy Marshall-Brown

@guymarshallbrown

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PhD UCA. MA RCA
@thesahgb Manager
@qestcraft Gosling Foundation Scholar
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Finally finding a moment to reflect and post about this beautiful experience! In August I had the honor of being a workshop assistant at @pilchuckglassschool along side @willbeattie for @joshuakerleymaker and @guymarshallbrown. Josh and Guy put on such an a fantastic class. I can’t even begin to put it into words (which is part of the reason it took me so long to post). These two are not only extremely smart and talented, but they provided such an uplifting and welcoming teaching environment. The definition of dynamic duo. I’ve been to Pilchuck many times and each time has been amazing in its own way, but there was something truly magical about this session. I loved spending time with every member of this class. The way everyone meshed and worked together was so refreshing and inspiring. We had the best studio coordinator, the lovely @lindsymarshallglass. Her energy was so fun and positive. She went above and beyond! I know I will look back on this session fondly for the rest of my life. I walked away learning so much from Josh, Guy, Will, and many others at Pilchuck. I laughed extremely hard and made lasting connections. This whole experience was very fulfilling for my soul 🛶. Thank you to @pilchuckglassschool and to everyone who made this session possible! Thank you again to Josh and Guy for trusting in me and bringing me along! I am forever grateful! ✨💓🦁🌲🧀🫧🍗🧇🔥
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Continuing to shine a light on exhibitors in IDEA, CONCEPT, FIRE showing at Craft in The Bay, Cardiff until 25th October 2026. Joshua Kerley and Dr Guy Marshall Brown have collaborated since 2022, developing an internationally exhibited practice in kiln-formed glass. Their work has been shown at the British Glass Biennale, Collect and GAS exhibitions, receiving the Bullseye Glass Living Edge Award and a nomination for the Brookfield Properties Craft Award. ‘This body of work represents the iterative and ongoing experimental practice of Kerley and Marshall Brown, challenging traditional modes of glass casting through digital mould-making and alterations to glass chemistry. 3D-printed mother moulds generate repeatable plaster-silica segments, which are assembled and filled with glass powder and a reactant. During firing, the glass expands and foams, producing unpredictable movement and form. Recent works introduce interventions mid-firing - adding extra glass to create varied melt and expansion, or allowing mould segments to shift or fall - to further encourage the glass foam to stretch in unexpected ways. Across the pieces shown here, the mould systems are altered, reconfigured and, at times, deliberately destabilised to test how far the material can be pushed. Digital design provides a method for building and repeating complex structures, while the kiln introduces variables that cannot be fully controlled. By working with, rather than against, the inherent unpredictability of the material, the artists allow each firing to open up new possibilities and inform the next iteration of the work. The resulting works invite a reconsideration of the medium - its perceived limitations, its structural potential, and its capacity for transformation through experimental making’. 📷 The Artists @guymarshallbrown @joshuakerleymaker @makerswales @beate.gegenwart #ideaconceptfire #bullseyeglass #foamglass
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My hearts so full; Session 7 continued✨
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I spend the last month at @pilchuckglassschool and truly it is the most magical place, the friendships that are created there are unlike anything, Im so thankful for the beautiful weirdos I met! My heart is filling so full from working with everyone and being apart of each class in the studio building. Session 7 was a session DEDICATED to mold making and I’ve never been more inspired, we love foamy glass and learning new things!✨ thank you to everyone who made the StuBoo the space is was, I owe it all to you guys!! 💕
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Thank you to everyone who made the opening event at Idea, Concept, Fire such an inspiring afternoon. Listening to the ideas and processes behind the work allowed a deeper appreciation of all the work, experimentation and love of materials, that has brought these pieces to life. It was fantastic to meet everyone. Thanks to Helen Carnac and Beate Gegenwart for curating the exhibition and Charlotte and everyone at Makers Guild Wales for all their hard work, it’s such a privilege to be showing there again. There is also the ‘colour in Motion exhibition showing a beautiful range of enamel jewellery on at the same time. 5 Sept - 25 Oct Craft in the Bay, Cardiff Enamel, Glass, Pâte-de-verre - as Material Thought #kirstenhaydon @lianapattihis @davidrhys.jones @beate.gegenwart @coilin_o_dubhghaill @guymarshallbrown @joshuakerleymaker @janeshort_silver_enameller @annepetters @tracy.nicholls.glass @makerswales @christine_graf_enamel #contemporycraftmanship #enamel#metalwork @glass
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We have some works in a very well curated, discipline rich, exhibition - IDEA, CONCEPT, FIRE at Makers Guild Wales Thanks to @helencarnac and @beate.gegenwart for inviting us to show some of our more experimental works/failures alongside such talented other makers. The show is open until 25 October 2026, so if you find yourself in Cardiff then go and take a little look. All for sale if you want to buy them 💰 #foamglass #bullseyeglass #makerswales @makerswales
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Thank you to Alice one of the Volunteers at Makers Guild Wakes for capturing these great shot of the exhibition Get @reshare_app • @makerswales Some close up photos of our new exhibition ‘Idea, Concept, Fire’ running until 25/10/26,taken by one of our volunteers, Alice. The works photographed are a mixture of enamel and glass and were created by Jacky Oliver, Helen Carnac @helencarnac , Tracy Nicholls @tracy.nicholls.glass , Jane Short @janeshort_silver_enameller , Joshua Kerley @joshuakerleymaker and Guy Marshall Brown @guymarshallbrown #makerswales #volunteer #exhibition
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MEMBER SPOTLIGHTS: Kilpeck Church (The Church of St Mary and St David), @guymarshallbrown. Kilpeck Church remains a favourite building of mine, largely because of the extraordinary survival of its twelfth-century sculpture. Built c.1134-40, it contains some of the finest work associated with the Herefordshire School of stone carvers. The south doorway is particularly remarkable: a Tree of Life, beakheads, twisting serpents, foliage, animals and the distinctive paired ‘warrior’ figures. Around the exterior, the corbel table continues this sculptural vocabulary through human heads, animals and grotesques, including the celebrated Sheela-na-gig on the apse. The Herefordshire School drew on influences from France, Spain, Scandinavia and earlier British traditions, yet the result is unmistakably regional. It feels almost like a quiet act of cultural resistance: imported ideas absorbed, transformed and rooted firmly in the Welsh Marches. The church is generally associated with Hugh de Kilpeck, probably responsible for its construction and an interesting figure in his own right. Known earlier as Hugh Forester, he inherited responsibility for the royal forests and held the office of forester of the Forest of Dean. His support for Empress Matilda during the Anarchy cost him both this office and his manors in the Dean. In 1134, he nevertheless endowed the new priory at Kilpeck as a cell of Gloucester Abbey, including the church of St David and the castle chapel of St Mary. Kilpeck was also once a substantial medieval settlement. By 1259 it had a weekly market and annual fair, with its population possibly reaching around 600. Famine, absentee lordship and the Black Death subsequently contributed to its decline. — Dr Guy Marshall Brown is the SAHGB Manager, an artist, researcher and educator specialising in ceramic and glass sculptural practices, with particular interests in materiality and architectural ruination. Member Spotlights is our new social media series seeking to highlight short notes from our members, trustees, and wider team. We invite submissions of approximately 250 words accompanied by original photography, via email to website@sahgb.org.uk.
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Returning to the studio this week from spending my birthday in an absolute dream of a work session at @pilchuckglassschool I’m coming home with a head full of so many new material possibilities and ways of working, from digital objects to mold-making and all the little glass foamy bits in between. Thank you to the rockstar studio dream team that was and is @joshuakerleymaker, @guymarshallbrown, @hannabrownnn, @willbeattie, @lindsymarshallglass, @yeahsharvin, and my sweet cohort, who made this practice-affirming session spectacular. My time there would not have been possible without the generous funding of @_anchorlight_ ‘s Brightwork, for which I am deeply grateful and incredibly indebted. I feel so lucky to be supported by community both near and far. Skills are meant for sharing and art is meant to practiced together. Always coming back to that 💗
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2026 l @pilchuckglassschool l Session 7 l From Code to Kiln l @joshuakerleymaker & @guymarshallbrown l Part 2
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2026 l @pilchuckglassschool l Session 7 l From Code to Kiln l @joshuakerleymaker & @guymarshallbrown l Part 1
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Get twelve fantastic people to design interlocking plaster segments that combine to produce one large refractory mould. Get one high wizard to help you print all of the required PLA master moulds. Assemble the mould while boldly stating how clever you are. Rely on two clowns to fire the kiln who will promptly forget because they are preoccupied by eating cereal. The result is this experimental collaborative (over-fired) foam glass sculpture. Then, find the sexiest fella on campus, get him to strip down to his birthday suit and swim the piece out to the middle of a lake as some form of pseudo-performative ceremonial farewell offering to Pilchuck. @pilchuckglassschool @hannabrownnn @willbeattie @peterjacobsenglass @davidallenhevel @falonland @tomerlewis @yaelatzmony @low_rage @maryamriazi @inhaelee @jtc_art2022 @c.s.h.a.e @mariatuckerjewelry @yeahsharvin
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