Following an extensive pitch process, Martin Donlin, world-renowned architectural glass artist, was commissioned by Glaziers Hall to create a bespoke installation to feature permanently at the historic venue.

The piece, which measures 3m high x 5m wide, takes a prominent position within the venue, providing a wonderfully colourful and intricately designed frame for the double doorway at the entrance of the grand Banqueting Hall.

The handcrafted artwork, which has a complete storyboard made up of many individual elements, is set to become a lasting reminder of the building s history and its position as Glaziers Hall.

Developed from a number of ideas that have been cut up and layered as a collage, the piece is intended to work on a variety of levels: providing a single bold image that incorporates intricate, individual designs that provide depth and detail to the piece.

At the very top of the design are the words Lucem Tuam Da Nobis Deo , Latin for O God, Give Us Your Light . As well as being the Glaziers Moto this is also a subtle reference to the sunlight which is an essential source of light that brings life to stained glass.

The Sun and the Moon can also be found at either side of the design, representing the continuing passage of time and the renewal of each day, while the background silhouettes take influence from local imagery including Southwark Cathedral, boats, ships and barges on the Thames.

Old Father Thames takes his position at one end of the design, with the names of all the smaller rivers and tributaries that flow into the River, plus an abstract reflection of London Bridge.

The three Worshipful Companies directly associated with Glaziers Hall: the Worshipful Company of Glaziers and Painters of Glass, the Worshipful Company of Scientific Instrument Makers and the Worshipful Company of Launderers are all represented by their Coat of Arms and the dates they each received their Royal Charters.

Adding further depth and detail to the storyboard, figures can be seen throughout the design, each involved in activities that are enhanced by abstract icons that provide a subtle association to each of the Worshipful Companies.

While vibrant and bold, the colour palette chosen for the piece is also warm and welcoming, perfectly complementing the heritage of the space and its more contemporary attributes.

Martin comments: The intention of this piece was to create an elegant, graceful artwork that looks back at the past with respect and forward to the future with optimism. Importantly, the design had to retain its power, through imaginative projection, to endure, enchant, engage and evoke reactions from those that would become frequent viewers.

The storyboard in one sense is perfectly clear, yet when you delve beneath the surface, much like the way that the piece has been purposefully layered and handcrafted, there is much more to see.

It was a privilege to work on this piece and to take the time to consider the story that we wanted to convey to the audience. Despite the installation being a moment in time, this piece will remain in position for many years to come, and we hope it captures the hearts and imaginations of the guests that visit Glaziers Hall.

Managing Director of Glaziers Hall, Will Simmonds, comments: Working with Martin has been a real pleasure. His attention to detail and ability to take a brief and to use his creativity, imagination and storytelling to bring it to life is quite remarkable.

What started out as one thing has become quite another for all the right reasons. Not only does the final design deliver a beautiful, bold and yet intricate piece of artwork, the many textures that can be found as a result of the craftsmanship required to create an installation from glass make it timeless.

We are very much looking forward to the responses from visitors as they see the piece not only for the first time, but every time that they come along to the venue. It is simply a perfect reflection of Glaziers Hall, a venue with a story to share that incorporates the past, present and future.

It was during an art foundation course in Rochester, while experimenting with coatings, resins and lighting, that Martin Donlin first found his passion for stained glass. Having gone on to study Architectural Stained Glass in Swansea, South Wales from 1984 to 1987, Martin worked as a tutor before setting up his own studio.

Finding a way of creating artwork that involved layering and starting from the back caught Martin s imagination and creative flair, leading to him being commissioned all over the world.

Producing small intricate installations in places of prayer and reflection to vast pieces that feature in busy public buildings, Martin s work can be found in churches, education settings, hospitals and even in airports and suspended from car parks.

First commissioned in 1988, the techniques Martin uses have evolved to embrace the thermal and safety performances required of his installations. Despite this, he continues to deliver depth and emotion through his designs in glass, with each artwork a direct response from its unique architecture and surroundings.

See more detail behind the design from the presentation HERE.