I have a large workshop and a separate studio/exhibition space that overlooks a tranquil Japanese garden.

I use coloured rods of Italian Moretti glass which I work over a flamework torch. I have two workbenches. One is set up for beadmaking- the torch, mandrels (the thin metal rods on which the beads are formed from molten glass), tools of all kinds, bits and pieces of odd lengths of glass, protective spectacles and a vermiculite-filled electric pan for cooling the beads slowly. The beads are then annealed overnight in the kiln for maximum strength.

I assemble the pieces at the other workbench using silver and gold findings, small glass and metal beads of all kinds and special plastic coated threading wire. I try different combinations of the beads till the balance of shapes, colours and weight feels right.

The joy of glass is that it offers infinite possibilities. I can create very different effects by working either on the surface of the bead or in the heart of the glass. I can use acid or an engraving tool to create a textured surface that reflects and absorbs the light through a soft matteness. I can enhance the brightness and depth of clear glass by incorporating threads of colour at the heart of the bead, or by trapping tiny air bubbles and wrapping and sculpting the outer layer of glass. It can be formed to look like all sorts of materials: semi-precious stones, minerals like malachite and lapis lazuli, amber, bone, gold and silver, porcelain, enamel, even ice.