Peter Layton Celebrates 50 Years of London Glassblowing

Peter Layton, widely considered the father of British studio glass, is celebrating 50 years in the art form with his London Glassblowing studio. At 90 years old, Layton continues to be actively involved in the business, which he describes as a labor of love.

"I think people walk through our door and their jaws drop," Layton said of the colorful and intricate glass pieces displayed in his Bermondsey studio. "What, you do all this with glass?" he often hears from visitors.

London Glassblowing employs 20 staff and has an annual turnover nearing £2 million. Layton noted that while glass as an art medium is more developed in the United States, it is still relatively new to the UK audience. He has dedicated his career to elevating its status.

This year, Layton received the inaugural lifetime achievement award at the Collect art fair in London. The London Glassblowing stand at the fair generated approximately £100,000 in sales.

Layton's personal journey with glass began after a varied early life. Born in Prague in 1937, his family fled to England in 1939 due to the escalating conflict in Europe. He grew up in Bradford, where he was a contemporary of artist David Hockney. After national service, Layton taught ceramics in the U.S. during the 1960s. He returned to the UK in 1968 to pursue his career in glass.

He established his first studio in 1976. After nearly 20 years at a Thames-side location, rising rents prompted a move to his current studio space. The studio's current rent and rates amount to approximately £50,000 annually. Layton mentioned the studio's consideration of switching from gas to electric furnaces to reduce carbon emissions, but expressed concerns about supply reliability and potential cost increases.

"Running the business side is pretty tough and not all of us are cut out for that," Layton commented, acknowledging the challenges of managing the business aspects of an art studio. His wife, Ann, now serves as the gallery's director and has been instrumental in its growth.

Layton sees significant potential for the glass art market in Britain, similar to established markets in the U.S. and Japan. He believes that the intricate work involved in glass art is still underpriced. "For the work that goes into glass, it is still very under-priced. You are getting an art object for next to nothing," he stated.

He also expressed dismay at the recent closure of the National Glass Centre in Sunderland, highlighting the uncertainties and dwindling opportunities within the wider glass industry in the UK. The traditional glassmaking hub in Stourbridge has also seen a significant decline.

"Part of our mission is to promote glass as a medium. I have spent my last 50 years pushing it and I am keen to see it continue," Layton said. London Glassblowing produces a range of items, from smaller decorative pieces to large sculptures, with prices varying from a few hundred pounds to £20,000.

Layton views his studio as a crucial support for artists and a beacon for other galleries. "We are supporting a lot of people and there are fewer opportunities elsewhere. We are a beacon for other galleries," he said. "It's inspiring to push each other and that there is a standard here. It's important that there is a next generation as there is a voice and vision in your work."