JeffHamilton

Detail from a set of stained glass sidelights created last year for Chinese clients building a new house in Seaforth, on Sydney's North Shore. The main subject of the work is peonies, augmented with lilies, grapes and guava

Detail from a set of stained glass sidelights created last year for Chinese clients building a new house in Seaforth, on Sydney's North Shore. The background is a mix of textured glasses providing both privacy and scintillating light.

I've recently purchased a new Tamron zoom lens and had the opportunity of taking some decent shots of two new windows installed in Nov. 2016 in the clerestory of St Peter's Anglican Church, East Maitland. This photo shows portions of the left and right lancets of the St Luke window but focuses in on the quatrafoil above, featuring a winged bull, the Medieaval symbol for St Luke

Another Detail from a set of stained glass sidelights featuring peonies created last year for Chinese clients building a new house in Seaforth, on Sydney's North Shore. I've been sparing with the glass painting in this set of windows, mainly enhancing the features and adding some nuance to the textured glasses in the background. I also painted in a couple of bees in this panel :-)

This drawing in charcoal on 200gsm paper is in response to a very specific brief for a stained glass window. The client's home is in Balmain in Sydney and is planned as a birthday/Christmas gift for his partner. They both adore Australian native flowers and also love their dog Nell very, very much!

Detail from a set of stained glass sidelights, either side of the front entrance, created last year for Chinese clients building a new house in Seaforth, on Sydney's North Shore. Here I've used gold-pink enamels, along with Reusche tracing black, fired onto the glass to enhance the natural variations of the art glass used in making the flower

Detail of the new Dorcas window installed in the nave of St Andrew's Presbyterian Church, Nowra, NSW on Wed 8th March 2017. Three months in the making. It was an interesting commission to work on, requiring substantial research. The figure of Dorcas is an attempt to recreate one of Edward Burne-Jones' beautiful angels, minus the wings. The figure of the pauper is based on a fresco in Bologna by the Renaissance artist Lorenzo Costa, "St Cecelia Gives Away Her Posessions". Dorcas was a New Testament figure known for her good deeds, making clothing and donating to the poor. The Dorcas Society, where women met in sewing bees and would then distribute to the poor, was active in Victorian England.

This is the finished work in glass that was represented by the B&W charcoal cartoon published here previously. Its a residential commission for a house in Balmain, in Sydney NSW Australia. The detail on the banksia and the hibiscus is using vitreous paints applied by hand and then fired to 600 centigrade prior to "leading up".

Commissioned and installed as a surprise 40th birthday present for Richard from his husband Raphael, both good friends of mine, this fanlight features portraits of their two cats, Hira and Karma, both very important members of the household. The artwork sits above the front door to their charming Surry Hills terrace house. I also have close-ups of Hira and Karma here on the Bubble.

This small panel was commissioned as a memorial to a pilot, and features the Dragon Rapide, a 1930's biplane built by British manufacturer de Havilland as a short-haul airliner carrying 6-8 passengers. Made of plywood, the aircraft flew many missions during WWII. The leadlight panel is now in Switzerland and forms part of the headstone memorial in a mountain cemetery.

This window is one of a pair of windows which were commissioned for the Chapel at TAS , (The Armidale School) in Armidale, northern New South Wales. Both the client and the Chaplain requested windows which would speak to the community of boys in a contemporary manner. However my first designs were roundly rejected by the School committee as being too modern, so after much discussion about subject matter I created two windows which would illustrate in text the Fruit of the Spirit.

This is a close up of the surface painting on a set of three vessels, "Series 4" made in 2016. Gaffer: Richard Morrell of Melbourne. Photographer: Greg Piper, North Curl Curl. Experimental in nature, the work explores the interaction of different layers of glass enamels.

A close-up view of the enamelled surface of one of my vessels in the series "Quintet" 2018. Gaffer: Richard Morrell. Photographer: Greg Piper.

A detailed view of the surface treatment of one of my vessels from the series "Quintet" made in 2018. Gaffer: Richard Morrell; Photographer: Greg Piper

This little fellow is one of two painted birds featured in a stained glass fanlight to an entryway in Balmain residence. It sits above the waratah door panel

Created over several weeks early in 2021, this original artwork measures 97cm x 87cm. It recently won a prize in the Singleton Art Show for contemporary work.

Based on a drawing I made years ago, this piece is about 5x firings of Reusche glass paints and enamels. The birds are Noisy Mynahs, cheeky little things and very noisy! A relative of the Indian Mynah. The red blossoms are Thorny Mountain Devils; they produce a large grey seedpod with two horns, hence the name. This glass work is actually for sale and would be eminently suitable for inclusion in a stained glass door panel or a window.

The right hand window in a pair of small "gothic lancets" illustrarting the Fruit of the Spirit. They were installed in 1993 opposite the entrance to the TAS Chapel, in memory of Mac Abbot, an old boy of the School who was highly regarded in the community.

This work was made in response to a very specific brief from a client who is a designer herself, building a beautiful new home in Sutton, NSW. Having researched the project, she was torn between two opposing design approaches: one completely organic, made up entirely of agate slices, and a totally geometric, multi-hued grid. My solution was to combine the two, allowing the grid to support the stones. Technically it was quite a challenge in construction but we are all very happy with the result.

This is a view into the afternoon sun of my stained glass panel installed at a Bus Shelter in Blaxland Road by the City of Ryde, NSW in 2017. Anthony Ogle, in his capacity as Chief Engineer, was the commissioning agent. Anthony was responsible for the artwork printed onto the rear screen of the Shelter

This is the lower ventilating panel to a new window installed in 2013 in Maroubra Anglican Church. The Biblical quotation was chosen by the donor and the window is in memory of her husband Wally Williamson. Wally was a warden and staunch supporter of the Church, always fixing things and maintaining the building. It seemed appropriate then to use the images of carpentry tools to both identify the figure in the window and celebrate Wally's contribution to the community.

Australian viewers will recognise the typical layout of an old Federation entryway: a large square with two smaller squares in the actual door and a fanlight above. My elderly client is an adventurous woman determined to enjoy the remaining period of her life with exuberance and she wanted this reflected in the design for the new entryway to her home in Glebe, Sydney.

This is the completed window for which I screen printed all the border pieces, fully restored. It's actually a panel in a hallway door.

Came across this painting of mine just last week when I was called out to look at some restoration work for a client in Epping; I'd completely forgotten that I'd made this piece for them back in about 1998 as part of a larger stained glass window to a dressing room. They have quite a collection of stained glass installed in many windows of the house. The flowers are the Australian native Thorny Mountain Devil, named after the apparent horns that develop on the large seed pods. Approx 250mm dia. triple fired paints, enamels and stain on Kokomo glass

A 2014 installation, this is a panel in the front door of an extension to a private residence in Weston Creek, ACT. The work is more lyrical insofar as it is based on the piano and string compositions of Debussy and Liszt, among others, and also Scottish Airs (a particular request of the client); I had to buy some new CDs especially, as I was not particularly familiar with that genre. There is a huge mix of glass in this piece: pressed flannel flower glass, dichroics, mouth-blown 'antiques' from Germany, Bullseye, some really old streaky granites and a few mechanical textures. I've also included, in a collage or found-object manner, some precious keepsakes of the client from their world travels along with some painted glass from my coll...

To accompany the figure of Christ in my new memorial window at St Edmund's Anglican Church, Maroubra, I've used the fish as a long-standing symbol for Christ. It first appeared in Roman times, during the persecution of Christians, as a secret code denoting a follower of Jesus; the letters of the name in ancient Greek also form the word for fish. This panel is the ventilating steel sash at the top of the window.

An entirely new series of work created in 2010, this one stayed as a black and white piece, just the ink work, for quite some time. But it was destined to be coloured and here is the result. Fibre-tipped pen, coloured pencil, metallic pencils, pastel, 57cm square, on 300gsm watercolour paper.

Fat-nibbed permanent marker and gouache on 300gsm rag paper, completed in 2010. One of the more lively excursions in my abstract artworks inspired by base-heavy electronic music or 'deep house'.

My latest installation in St Edmund's Anglican Church Maroubra (20th Nov 2013), this image of Christ is based on several sculptures and paintings from the 20th century depicting Jesus the Comforter. The Biblical quotation was chosen by the donor and the window is in memory of her husband Wally Williamson. I have positioned the figure to the left of centre with His hand outstretched in an attitude of invitation, inviting the observer to come and sit beside Him and chat, to unburden his or her sorrows and be comforted.

The T-shirt chalenge Music Machines inspired me to upload this work, commissioned by Sunni and Kaiki, the founders of the Jazushi restaurant in 2006. Kaiki is a chef and plays jazz trombone. They sold the restaurant in 2007 and took the door with them and installed it in the new Jazushi in Jacksonville, Oregon But I hear that unfortunately the restaurant is now closed. Not so sure I can turn the design into a T

A commissioned window to a private city apartment, completed in March 08. Finally got to visit and photograph the work installed. This is the same client who commissioned Spectrum. She is a keen collector of glass and has made stained glass herself in the past. The panel is installed in what used to be an internal doorway and includes all her favourite colours (and lots of mine!)

A new residential commission installed in February 2015 for a townhouse in Ryde. The window faces west and is the prime source of light to the apartment, throwing colour across the floor and up the walls as the sun moves. The client had a significant input into the colour scheme so it was an interesting commission in that regard, working within a restricted palette. Of course what it meant was, she got all her favourite colours, so she's very happy with the result.

The centrepiece of a stained glass door panel created for a Federation residence in Balmain in 2016. Something like 6x, maybe 7x firings to achieve this result

Took this shot back in 2009 in the corridor outside my studio in Hibernian House. Pretty sure the paste-up is by Ben Frost, I think it may have been a part of Paste Modernism (the first one), when a bunch of artists pasted all the stairwells and corridors. Transformed the building. Bits of this one are still there now. At that time lots of power points in the building got painted gold. As antique as this fitting is, the power is live.

Detail no.3 of a window installed in 2013 to a bathroom at Wamboin in regional New South Wales. The work is a semi-abstract, lyrical response to the surrounding countryside.

Another view of the mixed media work-on-paper that I've called Magical Lyrical. The overall dimensions of the piece are 105cm x 150cm.. pretty big for something that's nearly 50% coloured pencils. I worked all round it on the floor. These photos were shot professionally by Greg Piper in his studio. I enjoy the way the pencil work picks up the texture of the handmade paper, contrasting with the inks which soak right in and the opaque acrylic paint that sits on top.