Brian Clarke and Linda McCartney: Collaborations, 1995–1999
1995 – 1999
Between 1995 and 1998, Brian and Linda McCartney collaborated on three series of works combining stained glass and black and white photography, including panels they gifted to and installed in the Hammersmith Hospital Cancer Centre and the Rye Memorial Hospital. Their works up to 1997 were the subject of a book, Collaborations, and a joint exhibition at Vitromusée Romont (the Swiss National Museum of Stained Glass) shortly before Linda's death, and the Deutsches Glasmalerei-Museum, in Linnich. The final series of their works together was finally completed in 1999.
"Linda McCartney, working with her friend, the artist Brian Clarke, is helping to spearhead a revival of an art form that has been dormant for more than 100 years - stained-glass photography. They have been secretly working for three years on reviving the technique, which was last in vogue in the 1880s, and which Clarke has experimented with once before. They have now produced a number of stained glass photographs, including a set of portraits of Sir Paul McCartney as well as other celebrities, friends, flowers and urban landscapes.
Through a new process that they have invented, Linda McCartney's photographs are silk-screened on to mouth-blown glass. Instead of using inks, the colour comes from using ground glass mixed with iron oxide that is then fired in a kiln at 1,200C. The surface of the glass melts, the ground glass in the pigment melts and the two fuse. The pair kept the project secret for three years, says Clarke, "as we did not want what is a very difficult technique to be plagiarised before the opening of the Romont exhibition. All the techniques we that we have used are known techniques, but nobody has ever put them together like this before." Linda McCartney said yesterday: "Having enjoyed collaborating with Brian for many years on various projects, I'm very excited about this opportunity to show our latest work. As a photographer, the possibilities of this form intrigue me."" – The Independent, February 1998.