Gallery - Glenmorangie Still Room

The Glenmorangie Signet - based on the Codbole Stone

the original concept was just to use the signet as the image. I convinced the marketing team to allow the borders of the stone to be included to create a natural border to the window. During the time I was commissioned to make this work, the base of the stone which had been broken and lost, was rediscovered allowing me to see the carving in perfect condition.

Kericho Cathedral

all art works for the cathedral

This project occupied me for most of ten years in one way or another. For a full understanding of this huge project, please watch the video.

Queens' Park Synagogue

The Jewish Festivals

This project took me over three years. This was the last project I made in my own studio in Glasgow. ~I made the first10 windows there and then made the Sabbath Window in Germany and all of the other windows too.

Cafe Gandolfi

Flock of Fishes

this work was made in 2 sections three years apart, 1984 and 1987. The Cafe Gandolfi has become the most iconic cafe in the Merchant City in Glasgow. I always go there when I am in Glasgow.

Falklands War Memorial 

Peace out of Chaos

There was a competition  around 2000 to create a memorial window for this newly constructed chapel in the grounds of Pangbourne College.

The window is made using Lamberts Glass and I made this in the Derix studio in Germany. It is extensive and multi layered acid etching. In the area of the cross, I also used glass painting and silverstaining.

Shanghai Holy Trinity

Old Testament -  themes of Christ  - New Testament

This project was commissioned to try to give a sense of the original windows. However the clients asked for more of a sense of space within the windows. I therefor used my experience of acid etching to achieve this. I prepared concepts for the remaining windows within this building, however it seems unlikely that these will be made.

Domaine Mechtildshausen

Fundamental Elements

A set of windows for this Organic Domaine near Wiesbaden in Germany. I created window for three facades within the compound using Lamberts Glass and extensive multi layered acid etching. I made these at the Derix Studio which is relatively nearby. The only additional colour used was silverstain.

Pipes and Stripes

Four bagpipe melodies 

transposed into colour using a system I developed and researched using Bullseye Glass at the studio in Portland, Oregon. They window was commissioned for a former manse in Caithness, Scotland by the owners of the Bullseye Studio. The window used around 10,00 strips of coloured glass fused together.

Glasgow Cathedral

The Millennium Window

This was a work to mark the millennium. It is on a theme of "GROWTH" and is a set of parables that are written and to some degree illustrated. A very technically complex work to create.

related text


First Lancet
God said, 'Let there be light,' Gen. 1 : 3 

.. 'Let the earth produce growing things; let there be on the earth plants that bear seed,...Gen. 1 : 11.

Some fell on rocky ground, where it had little soil, and it sprouted quickly because it had no depth of earth; but when the sun rose it was scorched, and as it had no root it withered away. Mt. 13 : 5 - 6

A sower went out to sow. and as he sowed, some of the seed fell along the footpath; and the birds came and ate it up. Mt. 13 : 3 - 4

Middle lancet

..the Word already was. The Word was in God's presence, and what God was the Word was. Jn. 1 : 1 - 2.

...In him was life, and that life was the light of humanity. The light shines in the darkness and the darkness has never mastered it. Jn 1 : 4 - 5.

..I saw the Spirit come down from heaven like a dove and come to rest on him. Jn 1 : 32

..'The Sower of the good seed is the Son of Man. the field is the world; the good seed stands for the children of the Kingdom. Mt. 13 : 37

'The kingdom of heaven is like a mustard seed, which a man took and sowed in his field. Mustard is smaller than any other seed, but when it has grown it is taller than other plants; it becomes a tree, big enough for the birds to roost among its branches. Mt. 13 : 31 - 32

Third lancet

the wind blows where it wills; you hear the sound of it, but you do not know where it comes from or where it is going. Jn 3 : 8

..but look, I tell you, look around at the fields: they are already white, ripe for harvesting.. Jn 4 : 35

And some of the seed fell on good soil, where it produced a crop, some a hundredfold, some sixtyfold, and some thirtyfold. Mt. 13 : 8

A sower went out to sow, and as he sowed..

Some fell among thistles; and the thistles grew up and choked it. Mt. 13 : 7

The Concept

There are very few references on the theme of GROWTH in the New Testament. One teaching that does seem relevant is the Parable of the Sower and some of the related parables.

This parable works on several levels and deals directly with the three aspects of growth that were outlined in the brief. It is also possible to symbolise which many teachings are not.

The other parable included is the Parable of the Mustard Seed. This parable can be interpreted to show that even the seemingly small and insignificant can develop and grow and become important. These parables seemed particularly relevant in the context of a work that is based on GROWTH and is being funded mainly by three schools.

Another uniquely Christian concept is the Trinity and I wanted to make some reference to this aspect of Christianity especially since this is a three lancet window.

To make this a Trinity window it is necessary to have three sections of equal proportion.

In this case the centre lancet is longer and wider than the two side windows therefore I have inserted a smaller lancet within the central window to make this possible.

The Trinity is further symbolised by referring to a line in the Creed which states; 

"...God of God, Light of Light, Very God of very God,..."

In the upper section of each window are three representation of light;

The separation of the light from the darkness at the beginning of Genesis.

Christ as the light of Humanity.

The light of wisdom and understanding through the teachings of the Spirit.

There are also symbolic references to the Eucharist or Communion - wheat and a vine - and a reference to Baptism.

The symbolism is only one aspect of this work.

The other part of my concept is contained within the Biblical Quotations listed below.

These quotations are thematically related to the main theme of Growth. For example, the upper part of the right hand lancet contains the text "let there grow on the earth plants which bear seed", this follows on from the main theme of GROWTH. It also allows the inclusion of the symbols for the Communion, wheat and grapes.

The combination of text and symbol continues a series of works where I have combined the elements of text and symbolism to create a very rich and vibrant image. 

This can be read on both levels at the same time rather like the multi-layered qualities of music, a quotation and the counterpointing of it with images or symbols.

It was part of my initial instruction that the work should be modern and of our time and should be different from the other windows in the Cathedral.

This project was funded by;

The Glasgow Academy

Hutchesons' Grammar School

The High School of Glasgow.

The Friends of Glasgow Cathedral

There was also an involvement by Historic Scotland.


End of the Age of Innocence

Material - Mouth Blown Lamberts Glass Technique - Glass Etching, glass painting and silverstaining Dimensions - "2.96Mt x 1.48Mt (8ft x 4ft) 

Commissioned for a private Villa in Pinehurst, North Carolina.

I made this work at the Derix studio in Taunusstein. It is entirely made using traditional methods, It is surely one of the most complex etching projects made. I have included below and article based on the project.


End of the Age of Innocence

I was asked by the client to create a Window using Medieval Symbolism but the use of the material and the subject matter was left in my hands.
On the occasion I was asked to undertake this project, I had spent several days with the client and saw often a copy of a tapestry of the Lady with the Unicorn. This seemed an appropriate theme and I began with this as the main subject for the window. Several of the motifs and qualities that interested me in the tapestry have been used in the window.
Musé National du Moyen Age (aka Cluny Museum) in Paris.
Images and concepts drawn from this source.
The woman and Unicorn, The symbol of the Lion. The concept of the carpet of flowers. The presence of the trees. I used one instead of two placing the group directly in the shade of the tree. I made the tree, The Tree of Life as described in the Book of Revelation. The background colour of red also seemed appropriate.

Most of the images and symbolism used in the Medieval period had a religious interpretation. I have used the symbolism in this work for its decorative qualities.
I decided to set this scene in Paradise which in the Middle Ages was assumed to be an unreachable or undiscovered part of the earth. Paradise was typically imagined as an enclosed space or an island. The theme of the Woman and the Unicorn is very old and implies a state and time of innocence. The main group is the Woman and the Unicorn, She has a Lamb in her lap and behind her shoulder is a Lion. They sit beneath the Tree of Life from which descends a Serpent. The tree contains the many fruits and blossoms as described in Revelation, and the group sits on a bed of flowers. (see the symbols list below) As I worked on the designs, the group of figures got pushed further back into the composition and I formed three distinct areas within the space: Heaven, Paradise and Earth. At the top of the window therefore is Heaven where on both sides Angels playing musical instruments swoop into the scene. These I drew from medieval illuminated manuscripts. The area of Heaven is separated from Paradise by the firmament. The Tree of life reaches from Paradise and has a tentative contact to the area of Heaven. The theme of separation of Paradise from Earth is achieved by the other main theme of the window, water. For the foreground I found another symbol that I have frequently used in some form, the fountain. I also found a link with the story of the Unicorn so it seemed doubly relevant here. As can be seen from this illustration, I have adapted and used several of the symbols from this illustration Taken from this source The shape and form of the fountain The pheasant drinking The other birds The water pouring from the mouth of the decorative lion The Unicorn Is Found (detail), ca. 1495-1505 Southern Netherlands The Metropolitan Museum of Art, New York.

Hirschberg - Former Synagogue

Past and looking forward

These two beautiful round windows were designed for this former synagogue near Heidelberg in Germany. They were to mark the renovation of this former synagogue that has been converted to a cultural center.


The Holy Trinity

An award winning set of windows for this renovated church in the Thuringen Region of Germany. I designed them about 10 years before they were finally commissioned.

Govanhill Project

Dignity and Respect

I loved what I did here. I made this using Lamberts Glass at the Derix Studio as usual. 

This project was for an old folks home in the Govanhill area of Glasgow. It is a work over a few floors of the building. The sad thing about this work is that it really can't be seen. It is only visible after dark. The panels are located in two stairwell that are seldom used. Even I have no access to this building.

Baby Beds

two marquetry beds made for a Japanese client

this was one of the strangest projects I have ever made. I always said that once I understand a material, an art form, I can design for it. This project was a perfect example of this thinking. I was asked if I could make wood mosaics, I didn't know what I was being asked to do. The client loved the windows I made for the Cafe Gandolfi in Glasgow and asked me to make two baby beds using that idea. I realized that I had to also design the furniture as well as the panels. So this is what I did.

These pieces were made in Sorrento in Italy. I used to go there once a month. Finally the project happened and we created these amazing art works. They are somewhere in Japan.

Lockerbie Memorial Window

The Lesser Town Hall, Lockerbie, Scotland. Dec. 1991

The Lesser Town Hall, Lockerbie, Scotland. Dec. 1991
Dim: 3 @ 2290 x 815mm and 3 @ 920 x 815mm.

This window was commissioned following the tragedy of Pan Am Flight 103 which occurred on the 21st of December 1988 and struck the Scottish town of Lockerbie. Due to the nature of the subject and the event it commemorates, this was a very difficult work to make.

The brief was formulated following interviews with local people as to the content and symbolism which could be used. It was also made clear that the window should be a memorial of the disaster and not, in any way a reminder.
It was decided that the only area which could safely be explored was that of the flags of the nations of the people killed in the disaster.
There was to be no religious symbolism and no direct reference to the disaster.

The window depicts the national flags of the people killed in the disaster. Each flag is represented in each of the three windows. The St Andrew's flag represents the people of Lockerbie who were killed. The random spread of the flags alluding to the random selection of the people involved. The closeness of the flags overlapping and together although separate and individual. No reference has been made to the number of people from each country.

The qualities I wanted to invoke were of the air, light, colour and movement which flags possess.


Press Coverage

Artistic Homage to Jet Tragedy

by Robert Dawson Scott
WE havc had the inquest, the memorial services, the investigation, the arrest warrant, even Dr Jim Swire's scaled letter from Colonel Gaddafi's government.

But, as the third anniversary of the night that Pan Am flight 103 was blown up in mid-air over Lockerbie approaches this Saturday, there is another kind of response which may prove to be a more lasting legacy of that fateful night.

The disaster sparked off an extraordinary reaction among Scotland's creative community which other tragedies, no less appalling in their way, for some reason, did not.

In the immediate aftermath, many performing groups, from 7:84 to the Royal Scottish Orchestra, made trips to the region to give special performances. But it is the substantial body of new work that impresses: several lengthy poems, a large-scale piece of music, a significant exhibition of paintings and, most recently, a stained glass memorial which was installed last week in Lockerbie Town Hall, in the very room which was first commandeered as a temporary morgue.

John Clark, the stained glass artist, was commissioned and` had to work to a very tight brief. "People wanted a memorial, not a reminder" said David Wilson, a local councilor. Any direct reference to the events of 1988 was ruled out.

Clark emphasizes that the window is therefore not his personal statement. He feels, nevertheless, that the national flags of the victims, arranged randomly in the narrow confines of each window frame, are a telling image of the random arrangement of the people in the aircraft.

He also included the Saltire, for those who were killed on the ground.

Three of the other artists, Douglas Lipton, poet, Keith McIntyre, painter and Karen Wimhurst, composer, who had been reflecting separately on the disaster, pooled their efforts. In particular, Mc Intyre's image of a winged, angel-like head floating above the border landscape became a powerful symbol.

McIntyre had travelled through Lockerbie the afternoon before the disaster, on his way to join friends for Christmas. "I felt driven to do something, a sense of responsibility," he said. Lipton's poems, several of which he had started and then abandoned, ripened into The Song of the Falling Angel; Wimhurst, who had been thinking about writing a large-scale work for chorus, found herself giving voice to the song, drawing in turn on McIntyre's nagging feeling that his winged head was in some mystical way trying to call out.

The resulting Requiem for Lockerbie was first performed at the Edinburgh Festival in the summer, Scottish Television filmed the event, plus interviews with the artists and newsreel footage, for network broadcast on ITV next Sunday.

Donny O'Rourke, the programme's producer, who also wrote a fine short poem himself in the immediate aftermath of the crash, was able to persuade his management to put money into the project to enable it to happen at all. Most unusually, for an hour-long programme, it will be broadcast without commercial breaks.

BBC Radio 4's Kaleidoscope will also broadcast a feature on the artistic outpourings next Saturday. The requiem received its third performance in Glasgow last week, and will be performed again at Kelvingrove in the New Year, to accompany the exhibition of McIntyre's paintings there.

All the Scottish artists working on Lockerbie related projects have been anxious to avoid any suggestions that they have been feeding on the misfortunes of the town where sensitivies are still raw. So far, they seem to have succeeded.

The same cannot be said of one American artist. She wanted to scatter 150 life-size sculptures of grieving women throughout the surrounding countryside.

The local council had to persuade her gently that this would not be in line with their objectives of allowing the community to return to as near normal as possible as quickly as possible.

Artists and writers were, not surprisingly, alive to some of the cruel coincidences which surrounded the Lockerbie disaster. It happened at the season of goodwill, but also on the day of the winter solstice, the shortest day when, in pre-Christian times, fires would have been lit to ensure the return of the sun.

William Hershaw, a Fife poet, was already working on a poem about the turning of the year when he heard of the crash. His Elegy for Lockerbie draws parallels between pagan fire sacrifices, which were to propitiate the gods and ensure the return of the sun, with this modern fiery sacrifice, which seemed to be utterly godless. Lipton drew on the Vision of the Holy Rood for one of his songs. Part of the poem is inscribed in runic script on a 7th century stone just a few miles south of Lockerbie; it describes a burning cross, not so different from a burning aeroplane, descending from the sky.

The eerie parallels continue.McIntyre's exhibition , now at Kelvingrove in Glasgow, opened the day Pan Am finally went out of business

the water windows

Private Appartment, Frankfurt, Germany 

A work for a private residence in Frankfurt, Germany.

It has a lovely feeling of watercolour. This can be best achieved using the beautiful Lamberts flashed glass and acid etching and subtle glass painting and silver staining.


Baby Beds

two marquetry beds made for a Japanese client

this was one of the strangest projects I have ever made. I always said that once I understand a material, an art form, I can design for it. This project was a perfect example of this thinking. I was asked if I could make wood mosaics, I didn't know what I was being asked to do. The client loved the windows I made for the Cafe Gandolfi in Glasgow and asked me to make two baby beds using that idea. I realized that I had to also design the furniture as well as the panels. So this is what I did.

These pieces were made in Sorrento in Italy. I used to go there once a month. Finally the project happened and we created these amazing art works. They are somewhere in Japan.

I will continue adding to and building this website 

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