Wild Swimming with Flora Jamieson

Author of THE most beautiful book Wild Swimming, Flora Jamieson is a contemporary stained glass window designer

Specialising in the reproduction of Victorian Bird Roundels, Flora Jamieson ordinarily works in the wonderful world of glass. Designing from her beautiful studio in Dorset, she restores, reproduces and creates her own contemporary designs, whilst remaining faithful to traditional techniques.

I chatted with Flora about how she pivoted from her normal glass creations to designing the most wonderful pocket sized guide to Wild Swimming...

 Let’s start at the beginning – you work with Stained Glass usually - can you tell me who you are (for anyone that doesn’t know) and how would you describe your work?
Hello! I’m a stained glass artist based in Dorset. I make contemporary stained glass windows to commission, and I also restore and reproduce period stained glass. My own designs are inspired by the natural world: flora, fauna and the landscape around us; children’s book illustrations; 1960/70’s graphic design; wallpaper and fabric patterns.

Tell me about your journey into the creative industry – was it an easy one and is it something you’ve always wanted to do?
No it wasn't really something that was easy. I took art up to A-level, but didn’t pursue it further, and for a long time I regretted that. After university I moved to London and fell into a job as a studio administrator. Although I was working in really creative environments (firstly a design studio, followed by a photographic studio), the job I was doing was not creative at all, and I really missed working with my hands. In the end I decided to take an evening class to learn a craft or skill, and came across stained glass. I remembered visiting Salisbury Cathedral on a school art trip and visiting the stained glass workshop and thinking what an interesting job it looked, and that was it – I decided to go for it.

If it’s a commission and not a restoration how long does the process take you from design to end result? 
When I’m working to commission, I like things to be as collaborative as possible, and clients often come to me with a list of ideas they want to include in the window. One of the parts of the process I enjoy the most is weaving these ideas into a visually pleasing design. I will usually set up a mood board on Pinterest and pool images there until I can feel something taking shape in terms of the concept.  

The next stage is to create some sketches of potential designs. Once I have something on paper that I feel is going in the right direction, I present it to the client to see what their thoughts are, and at this stage there is often a few tweaks until we arrive at the final concept.  

After that I will draw up the cartoon, which is the full size design, and once that is approved, glass cutting can begin. Once the glass is cut, I add the painted detail, which is then fired in the kiln for permanency. Lastly the glass pieces are fitted together with lead strips, soldered at the joints, and finally cemented (brushed all over with a runny black putty) to make it strong and waterproof.

So let's chat about your BEAUTIFUL book Wild Swimming, it's a little different to your stained glass work. The idea was originally for the fabulous Sisterhood Camp wasn’t it? (which I am gutted is no more!) How did the idea actually come around and what made you decide to continue to make it?

Yes, the idea behind it was to make it as a gift for guests at a talk I was giving at the Sisterhood Camp retreat, hosted at Fforest in Wales. I wanted to put together a booklet with a few safety pointers, but which also conveyed the joy and beauty of swimming outdoors. I contacted Gemma as I loved her illustrations, and thankfully she was into the idea! I think having Gemma on board really focussed my mind on getting it done, because I knew her illustrations would make the book something special. Also having a deadline (the talk at the retreat) helped, although there might have been a couple of all nighters to get it done on time!!


In a nutshell what's in the book?

It's an introduction to wild swimming, with practical advice, safety tips and health benefits, as well as inspiring quotes, useful resources and beautiful illustrations by Gemma.  The guide is really for those wishing to dip their toe into the glorious pursuit of wild swimming in lakes, rivers, pools, waterfalls and the sea.


Gemma (@gemmakoomen) did the illustrations for the book, have you worked with her before or was this a first time collab? 

I actually approached Gemma out of the blue. I had followed her work on Instagram for a while and really felt a connection to it. It was one of those “if you don’t ask you’ll never know” situations.


The book took on a bit of a life for itself and had wide spread fantastic press – were you expecting it to do so well and do you think you'll do anymore?

The success of the book was amazing. It is always a surprise to see orders still coming in from all over the world. This year I decided to give the book its own Instagram account, having previously just used my stained glass account, and that has allowed new people and stockists to discover it. I have had a couple of ideas about doing another book project, but things have been so busy with stained glass for the past 3 years that I genuinely haven’t had time.   


What’s next on the agenda for you – what are your plans? where can we see your work? 

Having worked flat out on commissions for the past few years, I’d like to get back to making smaller pieces and playing with new ideas. I need to get better at not taking on too much to free up time for creating more work in my own style. One thing I would like to do, is  collaborations with other artists and creatives. There is something very rewarding and energising about the process.


Do you have any specific other creatives that you really champion and suggest anyone wanting to start out should go check out?

There are so many that it’s hard to know where to start, but I have really enjoyed following the careers of

Jono Smart the potter - @Jonosmart,

Luke Hope a wood carver - @hopeinthewoods,

Chloe Rosetta Bell another potter - @chloerosettabell

and Sophie Sellu a wood carver - @grainandknot


Seeing them putting in the work and honing their craft has been really inspiring.


and finally any advice to creatives and artists  just starting out in business or about to head to Uni?

My advice would just be to stick at it. It’s hard when you’re starting something new and it isn’t going the way you want it to, or the work you’re producing doesn’t feel good enough, but just keep going, keep improving, keep learning. Remember that making mistakes and getting it wrong is just an inevitable part of the learning process.

Take every opportunity that comes your way that excites you, and seek out people who inspire you - build a network of other artists and makers and support each other.



Buy Wild Swimming the pocket sized guide and see more wonderful illustrations @thelittlewildswimmingbook

Follow Flora's beautiful Stained Glass Work @theroundwindow

or contact her directly for commissions and restorations - www.florajamieson.co.uk

In conversation with marine artist Kate Smith

June 2, 2025
I was first introduced to Kate's work at Kunsthuis contemporary gallery in North Yorkshire, forming part of the exhibition "our eARTh" which explored responses from artists to the environment and climate change issues. I totally fell in love with her bold colours. Living by the coast has very much influenced Kate's artistic style, being drawn in by the rugged landscapes, extreme weather conditions and the Heritage of a working boat community. I chatted with Kate about her work and how it's progressed in the last couple of years. First up how did she get here? I was always obsessed with drawing and making as a child so I guess it was inevitable that I would follow an artistic route. I trained initially at university as a fine art sculptor and after gaining my degree I went on to study a PGCE in art education. After spending many years teaching art to A-level, I moved to Whitby with my husband and worked for the education department at the North York Moors National Park as an education leader. Having taken time out to have a family I continued to teach with adult Art classes, until in 2016 I decided to pick up a paintbrush for the first time in over 20yrs. Having never previously been a painter and always enjoyed three-dimensional form it took a while to get the hang of canvas and oil paint but at this point I was determined to at least give it a go. Better late than never. I asked Kate about her use of colour as it's one of the things I totally fell for in her work - Kate your paintings are super vibrant and evocative – is there a reason you choose to paint in such vibrant colours? When I first began painting with oils I was using a traditional palette. However I wanted to develop a more contemporary style and my love of colour was probably the first step in my experimentation. The colours that I use in my paintings are only really an exaggeration of the colours that I already see. And I use a lot of photography taken very early in the morning when the light source is at its brightest and the colours are at their most extreme. From then on I began to also develop an impasto style of paint application, using a palette knife and sculpting the paint onto the canvas. I guess that this was my homage to my sculpture training. At Kunsthuis and in your earlier work you featured more marine life (lobsters etc), have you made a conscious decision to move away from this to concentrate more on boats and local scenery – or do you think you’ll revisit the marine life again? Yes, initially I did begin with a lot of marine life in my paintings, concentrating specifically on lobsters, as my families love and participation of all things nautical was a big part of our life. However after a while I did make a conscious decision to concentrate on just one style. So I put all efforts into improving and developing what I felt was my stronger work, which was my boat and seascape paintings. One cohesive style is also far easier to share with galleries. With such a rugged landscape to work on do you work outdoors or work mostly from a home studio? How do you stay motivated and what do you find the most difficult in working from home? Currently my studio is situated in my home and I do find it very difficult to stay motivated at times. Right now it’s harder than ever to not be sidetracked by my two teenage children who have been at home from uni for the last few months. But what I do feel is important is to treat my studio time as if I was going out to any other job. When I’m painting, I'M PAINTING! Plus when I get into my painting zone I find that a whole day goes by in a flash. What about the process of how you design and make your paintings - do you plan what to make or just go with the moment? So, my paintings process begins with a photograph. I’ve been very fortunate to have a friend that takes beautiful, atmospheric photographs on his early morning walks and he allows me to use them as a reference for my pieces. When a particular scene appeals to me I run with it, so I suppose I do just go with the flow. You mention you used to tutor with adult groups – is this something you still do or would consider doing again? Teaching with adult groups is very rewarding and I’d like to think I’ll have the time to return to it one day. But right now I’m happy to concentrate on my painting career. What’s next on the agenda for you – what are your plans? where can we see you? I was recently working on a body of work for an exhibition for Art For Youth North which is an annual exhibition of contemporary Northern artists set in Thirsk. I have work on display in Silver Street Gallery, Whitby and have plans to send pieces to a couple of Galleries outside of the North. Do you have any specific artists that you really champion and would suggest any rising artists? There are a number of artists, both painters and sculptors who’s work inspire me. I love the work of Peter Wileman, his use of colour and his energetic mark making. His paintings really capture a sense of place. But I also admire the work of many of my local contemporaries such as, Ian Burke, Ian Burdall, Sue Nichols, Tori Tipton, Emerson Mayes and Richard Gray. Also sculptors and ceramicists like, KV blacksmith, Kit Hemsley, Hilary Holmes, Anna and the willow, Emmeline Butler and Eric and Chris Moss to name but a few. We have such a wonderful and varied array of talented artists here on our own doorstep. and finally do you have any advice to creatives and artists about to embark on starting their own business? My advice to anyone about to embark on an artistic career is firstly don’t make things complicated, make sure you are enjoying what you’re doing. But also take advice from those that have been where you are. Or as I did, apply to a show like art& where they run a Raw Talent Award Scheme offering invaluable support and guidance into exhibiting your work professionally. Theres lots of help and information out there if you’re prepared to look for it. See more of Kate's work or contact her via her website https://www.katesmithart.co.uk/ or follow her on Instagram at @art_katesmith

Photography in Museums & Historic Houses

By Laura Cotterill • May 2, 2025
To snap or not to snap!

In conversation with digital artist Sarah Westwood...

March 13, 2025
Sarah's work dominates the Yorkshire Cycle Hub - I first became aware of her work during a visit with my children when they brought back Sprocket colouring sheets to the table. Since then we've crossed paths many times, Sarah has traded at a number of Markets I've managed, ended up on the same photography course and at a creative connection network event. We regularly chat on Insta, so it only seemed right that Sarah and Sprocket were to be featured in an interview! Hi Sarah can you tell us a bit about you and and who Sprocket is? I'm Sarah and I love to draw, and I especially love to draw Sprocket the dog. Technically I'm his P.A and my job is to share his wonderful journeys with you all. I've been sharing my little dog's tales since 2015. I draw using an iPad Pro and with my finger, so it’s very free and flowing. I did my first 100-day project in 2015 and he was a product of that creative process. I have a lovely little studio in East Ayton and Sprocket was inspired by my old sidekick who was a Weimaraner, he was always up for walks and lots of cuddles. He had his own chair in my studio, I used to call him my supervisor. All my drawings are in honour of him. Being creative - is it something you’ve always gravitated towards? I've always been creative, spending a lot of time as a child making and drawing. Heading to uni to do a creative degree felt like the right direction to go in. I did Surface Pattern Design at Huddersfield and it was an intense journey but I learnt a lot about myself and how to be creative, developing ideas and definitely developed a thick skin with feedback from our tutors! I’ve always wanted to be in a creative job, looking back I never thought I would be doing this. I was somewhat clueless back in my early 20’s, I worked hard doing an unrelated 9-5 job and did my art on the side travelling to craft fairs and worked my way to eventually cutting down my day job. I exhibited three years in a row at Country Living Magazine show and Kirsty Allsop’s Handmade Fair in London . During lockdown you worked on a 100-day project on Instagram – did that help you stay creative and focused? Drawing Sprocket every day was a huge pleasure, it kept me focused and having an allocated time to draw each day was something I looked forward to. Just starting on a blank page, making lines that then flow into something I hadn't planned was a real treat. I haven't had that sort of time for my work since uni. Lockdown taught me how much I enjoy drawing and I loved giving myself that time every day to be creative. I'm so chuffed that people like the work I did and supported me by buying my work, it's always really heartwarming. I try not be mushy about it but my orders increased threefold over lockdown and everyday I'd just stand in my studio and beam with absolute joy . I spy you’ve been working in ceramic recently, is this a new medium for you to work with and is it something you'll be including in your shop for future (I hope so!) are there any other mediums you’d like to try out? I decided back in lockdown that I wanted to do something out of my comfort zone when we could all do stuff again. I love ceramics, and doing something so hands-on made me go back to basics so I messaged a friend who has a studio and I asked for lessons. Throwing pots is just brilliant, I love being so involved in the process and the need for me to concentrate and to switch off is just what I need. I'm so pleased with how they are looking and they seem to replicate my drawing style. I'm working on some Sprocket figures but hats off to artists that throw pots, it's a real art in its self.... . . and yes I’d love to be able to sell them in my shop so possibly! Where do you get your inspiration from? your images are so creative and brilliant, especially when you introduce new characters with Sprocket? That is a question!! I think I have an overactive brain, I do wonder where the ideas come from myself. I seem to go through stages of people requesting images, I do get complete artist block but then I have things that happen and they just inspire that drawing. I just like to try and tell a tale with each image. Does it take you long to design the images? do you plan what to feature or just go with the moment? I draw with my finger on my iPad pro, I call it freehand digital drawing. I try to set myself a bit of a limit of an hour and a half, some are quicker and some take forever but I actually am not aware of the time whilst I'm drawing in all honesty. I'm not a great planner but if I've got an idea I'll often write it down on a blank page in my adobe drawing app. Then it can be used at a later date.
More Posts