Layton, Peter (20 of 22) National Life Stories Collection: Crafts Lives

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  • Recording date

    2014-11-24, 2014-12-18, 2015-01-07, 2015-01-13, 2015-01-19, 2015-03-02, 2015-03-09, 2015-03-16, 2015-04-13

  • Recording locations

    Interviewee’s home in Worcester Park and studio in London

  • Interviewees

    Layton, Peter, 1937- (speaker, male)

  • Interviewers

    Cornford, Frances (speaker, female)

  • Abstract

    Part 20: [Session nine: 13th April 2015] Comments on PL’s more conceptual work. Showing at the Commonwealth Gallery in the early 70s and description of sculptural pieces developed for space including Please Keep Off the Grass; environmental messages in sculptures. PL content to work on vessel forms in glass with occasional sculptural work. Satisfaction of producing large work such as the glass pyramid and Legend of the Seas. Pressures of running a studio; opportunity to make more sculptural pieces for exhibitions or when inspired, for instance group of pieces inspired by Zen gardens after a visit to Japan. [19:12] Recently revisiting sculpture from Commonwealth Gallery exhibition which used flocking on ceramic bomb shapes in crate. PL remaking bomb shapes in glass; description of piece using light and glass similar to uranium glass, made in 2010. [28:06] Remarks on revisiting ideas; PL keeping many sample pieces. PL selling piece on the TV show Four Rooms and accepting £9,000 from art dealer Gordon Watson. PL always moving on to the next thing and not developing his work. Initial impact of pyramid made for Novy Bor and Legend of the Seas. Choice to run a studio and make production pieces rather than concentrate on one offs. PL tending to think of sculptural work as more serious even though knows this isn’t true. Comments on phases in work and returning to techniques. Developing new techniques, mentions Spirale series. Selling sample pieces at silent auction; A Spirale piece proving popular so deciding to revisit series. [44:55] Comments on sculptural pieces of heart shapes including Battery using heart shapes, metal cages and fibre optics; Battery shown in Alexia Goethe gallery in the West End; PL still having it. Sculptural pieces as often having a message, describes Game of Life. PL thinking of revisiting idea of using glass to magnify text or imagery. Inspiration for Game of Life; text in piece written by PL; problems with holes burning in piece because of light on glass. PL’s admiration for artists who stick with one theme; PL revisiting forms. Necessity of thinking about which pieces sell because of size of studio; London Glassblowing now bigger than some glass factories. [01:07:12] Importance of London Glassblowing having its own gallery. Comments on market for glass, mentions US market and Dale Chihuly. AL’s involvement in running the gallery; thriving area of Bermondsey St. AL as turning the gallery around. Finding staff for the gallery.

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