Embryonic embodies creativity and harnessed energy. When closely examined every individual egg has an inherent character, a story to tell.
The development of the glass form, as a receiver for the moving image, evolved in direct response to a joint selection of a fragment of Heald’s film Frozen Seas. Several glass samples were produced and experimented with collaboratively in the studio. The kiln formed wall- mounted piece resulted from this joint physical exploration.
Embryonic (2006) is in the permanent collection of Museo Municipal de Arte Contemporáneo en Vidrio de Alcorcón-MAVA, Madrid, Spain.
As part of the International Festival of Glass (2006), collaborated with glass blower Simon Eccles, in response to the site of The Red House Glass Cone. Built at the end of the 18th Century, the Cone enclosed a furnace around which men made glass for 140 years until 1936. Reaching 100 feet into the sky it is now one of only four cones left in the United Kingdom.
When the site was operational, raw materials for making glass were transported by barges on the canal. Water has always been an essential part of glass making. In response to the space
Bird-Jones and Heald created Breath, an abstract film, looped, with edited sound, of the process and environment of glass blowing. The series of moving images were projected onto a wheelbarrow, one of the ‘found’ exhibits in the site, within which
Bird-Jones and Heald placed some of the last glass shards produced by Stuart Crystal in Stourbridge.
The Pillow Series
The Pillow Series explores dreams, the unconscious and the invisibility of time (physical, spiritual and imaginary) from a feminist art perspective; incorporating contemporary technologies and scientific dialogues. Researching how to make the invisibility of time visible, combining glass, film and sound it questions what sleep and the body means cross culturally and in different spaces. The textural glass casing houses the moving image further separating the dreamer from the viewer.
The Box was an immediate response to Embryonic. Heald shot an experimental film, which documented the performance of Bird-Jones’ journey through Madrid with a wooden crate. The protective crate, constructed by both artists, contained the Embryonic glass receiver during its journey from the UK to Spain, and from the hotel to MAVA gallery.
The film was then mutually developed and presented encased within a duplicate crate. The Box was first exhibited at the GIG gallery in Sydney, Australia (2006).
In the Round
In the Round is a series of pieces created in response to the performance with Sigridur Asgeirsdottir, Hannah Atkins and Aydee Latty, in the Round Room, Swansea (2009).