This exhibition explores the people, place and work of this centre of excellence in Lybster, creating a portrait of the organisation in its twentieth year

There is something inherent in the quality of glass that sets it apart from other artistic media. Practitioners routinely refer to themselves as “glass artists” whereas users of other materials — for example, stone or wood — do not usually define their practice in such a way.

There are several reasons why glass art routinely achieves a unique status. Its usage requires a high degree of technical knowledge, its manipulation demands a high level of craft skills and the third component, that vague and ill-defined quality, artistic merit, is also needed to complete this finely balanced trinity. Small wonder, then, that the best-qualified glass artists have worked long and hard to get to the top of their profession. Several can be seen here in a show that celebrates 20 years of North Lands Creative Glass, that inspirational, internationally recognised centre of excellence in Lybster, on the Caithness coast. North Lands now stands alongside prestigious teaching venues such as the National Glass Centre, Sunderland, Ebeltoft in Denmark, and Pilchuck in Seattle.

The Dovecot Gallery show displays the tools of the trade — such as knives, tongs, glass samples, paints and templates — alongside examples from the North Lands collection. There are 10 invited artists, including German-born Udo Zembok, who lives and works in France, Alison Kinnaird from Scotland, David Reekie and Emma Woffenden from England, Danes Tobias Møhl and Maria Bang Espersen, and Petr Stanicky from the Czech Republic. They demonstrate the diversity, and it must be said, occasionally variable quality of the work North Lands has inspired.

Møhl blows glass using pre-made rods etched and stained with black geometric patterning, using ancient Venetian techniques. When the glass is heated and blown, these patterns expand and evolve to create new, complex geometries. The resulting vessels are then composed and lit to create beautiful installations with seemingly endless permutations of shadow, tone, texture and position.

Magdalene Odundo describes her work as “a drama being enacted with the help of a very hot fire.” Although she works predominantly in clay, the change of medium has allowed her to expand and develop her artistic journey. Her fulsome, colourful, pendulous vessels suspended from the ceiling are in stark contrast to the measured, contemplative mood generated by Møhl.

Stanicky’s work, inspired by the ancient layered geological sediments of Caithness, is robust but occasionally clunky; ironically, his sculptures and maquettes in wood are possessed of more intrigue and finesse. Kinnaird’s work, technically accomplished, also carries an emotional resonance.

North Lands has opened up the world of glass to a Scottish audience, adding immeasurably to our cultural life, forging links where none existed previously and bringing many artists and students to our shores.

Until October 29