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I live and breathe glassblowing. I’ve built up an incredible insight into the nature of glass and have learned to work with the material, not against it. Glass is something that can’t be dominated; you have to ‘feel’ it and endeavour to correct it as you go. I try to make unique pieces that haven’t been produced before. Much of what I create is commissioned privately, but I also offer bespoke services to restorers and the public where I remake or replicate objects that are no longer available. I’m often asked to recreate or replicate what is assumed to be a simple piece but, in truth, no item is easy to produce from scratch. Any number of things can go wrong when it comes to blowing glass because the material is so difficult to shape, but even mistakes are a learning curve. I might produce an interesting, unexpected shape that may well trigger an idea for another piece at a later date. The tools and techniques that I use haven’t changed since people first learnt how to blow glass centuries ago. I try to introduce a unique or contemporary not to everything I make. I was lucky enough to learn from the best, including David Kaplan and Annica Sandström or Lindean Mill Glass in Scotland and London-based Simon Moore. They taught me life skills, furnace husbandry and how to run a workshop. What really matters though is selling your work; it’s easy to make pieces born of your passion, but another to sell successfully. Building up a business and making contacts is a skill. I start to think about glass almost as soon as I wake up. I moved from London to the market town of Chatteris five years ago, and turned the barn in my garden into a workshop. I go there at about 6.30am each morning and turn up the furnace. I’ll set the kilns going and start blowing at around 9am and finish around 7pm. We are a small team of three, including my assistant, Alex and Kim, who looks after admin. A highlight is removing pieces made the day before from the lehr (a separate temperature-controlled kiln) and inspecting the results. Broadly speaking, blowing is done in the hot workshop, while grinding or polishing takes place in the cold workshop. I’m energised by variety. As well as private commissions, we have also launched four vessels for the National Trust’s Artisan & Craft range, having won its nationwide call-out this year. It’s tremendously exciting to see our work stocked in its shops. I’ve also made lighting for Collect at the Saatchi gallery, which is how the dramatic Ely Chandelier came about. Glass is a magical material. I try to pass on my techniques to others so that these precious skills aren’t lost. If I wasn’t a glassmaker, I’d be poorer in spirit. I can’t imagine doing a job that doesn’t involve using my hands in this way. Stewart Hearn London Glassworks, 112a High Street, Chatteris, Cambridgeshire PE16 6NN, 01354 278084 Photography/Alun Callender