In order to describe what informs his work, glass-maker Charlie Macpherson recalls the story of a Japanese Tea Garden which overlooked the sea. Over time, the sea became concealed behind a hedge, so that the only way to see the sea once more was to peer over or through the hedge. This metaphor of the frame concealing the detail within, or the hedge concealing the sea, underpins much of Charlie’s work. Using intricate cane techniques for both one-offs and repeatable production pieces, Charlie’s hand blown glass combines light and colour to produce floating optical effects. These ‘stripes’ form windows through which we can peer, and every window tells a story.

Yet it is work concerned with the human body that has occupied Charlie for much of the last year, and will, he says, form part of the larger scale, almost sculptural work to be shown at Origin in October. 'The best bit about Origin', he says, 'is as a platform to retain the popular work which sells but also attract new buyers with challenging pieces. It is vital to go back again, to demonstrate how serious you are and with a better understanding of who you are and what you do.'

These 'challenging pieces' might initially be recognisable as vessels - indeed most glass objects begin their lives as vessels - but they will not be able to hold anything, and as such, might be better described as sculptures. According to Charlie, 'the culture in which we live dictates a narrow beauty, yet the proportions of the body are surprising and beauty can be found in unusual scales.' As a result, heavier polished pieces will share the stand with taller, more elegant pieces, many of which have been informed by terms such as the shoulder of a vase, the foot of a pot, and which draw a direct link with the human body.