Neil Wilkin Serveware, Ceramics, Silver and Glass

'Waves No 245' is a beautifully crafted, handblown glass bowl by the British artist, Neil Wilkin. Taking a painterly approach, Neil Wilkin merges his colours to create a larger palette of soft hues. Utilising both transparent and opaque glass adds to the soft aesthetic of each piece adding an ethereal effect. Since graduating in 1981, Neil Wilkin has used his skills to produce exquisite, luxury glass from his workshop. Clients from every sector include individuals, interior designers, property developers, architects etc. Companies include -Thomas Goode, The Grove, Asprey, Liberty, Cunard, Disney, Grosvenor Estate and Four Seasons. His specialist restoration skills earned him coveted commissions including the ‘blanks’ for the Royal Windsor...

'Waves No 646' is a handblown glass bowl by the British artist, Neil Wilkin. 'Waves' is a collection of beautifully crafted, unique glass bowls and centrepieces by the British artis...

'Waves No 370' is a beautifully crafted, handblown glass bowl by the British artist, Neil Wilkin. 'Waves' is a collection of beautifully crafted, unique glass bowls and centrepieces by the British artist Neil Wilkin. Taking a painterly approach, Neil Wilkin merges his colours to create a larger palette of soft hues. Utilising both transparent and opaque glass adds to the soft aesthetic of each piece adding an ethereal effect. Since graduating in 1981, Neil Wilkin has used his skills to produce exquisite, luxury glass from his workshop. Clients from every sector include individuals, interior designers, property developers, architects etc. Companies include -Thomas Goode, The Grove, Asprey, Liberty, Cunard, Disney, Grosvenor Estate and Four Seasons. His specialist restoration skills earned him coveted commissions including the ‘blanks’ for the Royal Windsor Castle fire damaged chandeliers and speciality working with international artists to make their own artworks. Is his own words: ‘As a child I wanted to be a geologist. My father introduced me to materials and science by bringing home as many different elements as he could and I remember shiny metals, black carbon and vivid yellow sulphur. The geology beneath our feet shapes and colours our environment in every way. From the rusty iron of the red Australian outback, to the sunshine on the ground which drives our weather, not least the rain in the verdant Welsh hills where the folded rocks turn everything upside down, and we have a pool at the top of the hill. It was colour and heat that first pulled me towards the furnace at college. I had gone to work with my hands as a potter, and left obsessed with fire and glass making. I just enjoy making whether building a shed or a furnace or making things grow in the garden there are not enough hours in the day to do all the making I need to do. Since Rachael (Woodman, fellow glass artist) and I started our first workshop in Bath, 1984, my making skills have developed by realising the ideas of others, and in the 'melting pot' of many visiting artists I got my fix of glassmaking and colour. Over the last 10 years I have travelled and worked with different materials and methods, but I find myself more at home back in front of the furnace. When I blow glass the colours in glass behave like layers of rock. Hard and soft, absorbing and transmitting heat just as they do light...