Removed, Remodelled, Relocated: The movement of stained glass from its original setting to places new

Lee (Bil) Bilson FIIC

Conservation Manager at Recclesia, Recclesia Stained Glass

Bil is a Building Conservation Specialist and fellow of the International Institute for Conservation of Historic and Artistic Works (IIC), alongside Jamie at Recclesia he has worked on a vast range of internationally renowned buildings and conservation projects with a range of material specialisms. He is an active advocate for conservation skills and craftsmanship, lecturing for The King’s Foundation and The University of Manchester, and recently joined the Historic Environment Skills Forum Steering Group chaired by Historic England.

Petri Anderson AGMP

Director, Mongoose Stained Glass Ltd.

Petri Anderson AMGP is the director, chief designer and painter of Mongoose Stained Glass Ltd.

He started studying restoration glass painting in 1989 under the tutelage of Peter Archer AMGP and Alfred Fisher  FMGP. Upon Mr Archer's retirement, Petri became head designer and painter for Chapel Studio before establishing Mongoose Stained Glass in 2005. He is an Associate of the British Society of Master Glass Painters.

Petri's work can be seen across the country in parish churches, cathedrals, private homes, schools, colleges and city livery companies. In recent years his portfolio has taken on a new dimension with work in Japan, Central Asia, Finland, Czechia and the Caribbean.

Ute Bednarz

Ute Bednarz has graduated as an Art Historian from the University of Leipzig where she also studied Classical Archaeology and Philosophy.
Since 2006 she has been a Senior Research Scientist at Corpus Vitrearum Medii Aevi Germany/Potsdam, and the Academy of Science Berlin/Brandenburg. She is also a member of the National Committee of the CVMA Germany. Previously, she worked for several years as a research assistant at the State Office for Monument Preservation where she wrote for and edited the ongoing Handbook of German Art Monuments in Saxony-Anhalt, founded by Georg Dehio.

Em. Prof. Dr. Joost Caen

Joost Caen (Belgium, Roeselare, °1959) is emeritus professor of ‘Glass Conservation Studies’ at the University of Antwerp. Since 1985 he has run his own studio for the creation and conservation of stained-glass, where he is still very active. Among his most important artistic realizations are the stained-glass windows in the Abbey of Fonte Avellana (Italy) and in the Abbey of Echourgnac (France).

As a conservator, he works for important museums and monuments at home and abroad. For example, he recently treated a 13^th century stained-glass panel from the Antwerp 'Museum Mayer van den Bergh', originating from Notre Dame Cathedral in Paris; an early 13^th century panel from his own collection, and several 16^th and 17^th century panels from the museum 'De Lakenhal' in Leiden (NL). Joost Caen is member of the 'Flemish Commission on Monuments and Sites'. He is also author of numerous articles and books on stained-glass. As a member of the 'Corpus Vitrearum' he published, among other books, a series of five volumes on small and medium-sized stained-glass panels in Flanders, in collaboration with a Dutch colleague. His stained-glass collection and archive, the ‘Ars Lucis Collection’ initiates at present the start of a stained-glass study centre for the Benelux.

Zoe Harrigan MA

Conservation Manager, Rainbow Glass Studios

Zoe Harrigan MA is Conservation Manager at Rainbow Glass Studios, Director of Rainbow Glass East and co-Director at Woodside Stained Glass. Zoe has over a decade of hands-on experience of working in stained glass conservation with both medieval and modern glass, having specialised in framing techniques, digital templating, and site work. Her research has been featured in Vidimus and Historic Churches (2021), and she previously presented a paper for the 2018 Icon Stained Glass Group Conference on the stabilisation of degraded medieval glass. She served on the Icon Stained Glass Group Committee from 2018 - 2021. Her recent work with Rainbow Glass Studio as Conservation Manager has opened her eyes to the extraordinary Arts and Crafts stained glass of nineteenth-twentieth century Scotland, and she has a keen interest in the techniques and glassmaking of this period. She is currently on the ICON Pathway to Accreditation.

Shima Hayashi

Shima Hayashi undertook practical training in stained glass at a studio in Gloucestershire, where she learned traditional techniques while producing original works.

Motivated by a growing sense of urgency upon witnessing the deterioration of stained glass windows in local parish churches, she decided to pursue formal training in Stained Glass Conservation and Heritage Management at the University of York. After completing a Postgraduate Diploma, she has since contributed to research projects involving British stained glass works held in the collections of two stained glass museums in Japan.

Christa Heidrich

Christa Heidrich switches from initial interest in stone conservation to stained glass which results in a big and deep love today. She was trained in the craft of stained glass and manufacture before her studies in conservation and restoration with Sebastian Strobl. She returned to Glasmalerei Peters studios in 2013 where she completes the staff of the conservation department. But her task is also to develop and accompany contemporary stained glass projects with a focus on French spoken projects. You may meet her in the office, the studio or on site. She loves the multitude of our craft and the well-done contemporary touches on historical sites.  

Derek Hunt FRSA FMGP ACR

Director , Limelight Studios Ltd

Derek Hunt a Fellow of the British Society of Master Glass Painters, Fellow of the Royal Society of Arts and an Accredited Stained Glass Conservator with over 39 years’ experience running his own studio. He designs and makes new glass artworks for public spaces, private homes and churches, and makes traditional stained glass and enjoys working with new techniques to push the creative boundaries of the medium. He carries out a wide variety of conservation projects and teaches traditional glass painting at his studio in Leicestershire and at the Ely Stained Glass Museum, situated in Ely Cathedral. He hosts a Youtube channel dedicated to all things stained glass, with tutorials, inspirational videos and interviews with some of the most exciting international glass artists working today.

Vivienne Kelly MA

Vivienne has worked with Iona Art Glass, contributed to research projects with Rainbow Glass and collaborated with Linda Cannon Stained Glass. She also serves as a trustee on the SSGT (Scottish Stained Glass Trust).

She is currently undertaking a PhD at Heriot-Watt University. Vivienne’s research explores the cultural significance of Scotland’s stained glass heritage and the challenges it faces today.

Vivienne has been a QEST scholar. She holds a first-class MA in Stained Glass Conservation and Heritage Management from the University of York, with her thesis winning the Nicolas Barker Prize. She also holds a first class BA in Fine Art from Glasgow School of Art, which founded a strong interest in creating contemporary stained glass.

Dipl.-Des. Markus Kleine ACR

Markus Kleine was trained in the craft of stained glass design and manufacture before he started his studies in Historical Heritage which he completed in 2002. After his studies he joined the studio of Glasmalerei Peters and became head of the conservation department, he forwarded work to academic standards so that it became self-evident in the studio.

Currently he is doctoral student in conservation science accompanied by Paul Bellendorf beside his work in Peters studios.

Markus is a lover of history and stained glass.

H. Thomas Küpper

I first became interested in stained glass in the late 1980s setting up a small glazing shop in Cockermouth, Cumbria. From 1994 I worked at Lincoln Cathedral for 25 years, as a stained-glass conservator and the Head of Department.

In 2018 I worked for Historic England supporting churches in East Anglia with their repair and maintenance programs, and since 2020 I have been employed at Peterborough Cathedral in my current role as the Estates and Facilities Manager.

I gained my Post Graduate Diploma in the ‘Conservation of Historic Objects’ from DeMontfort University, Leicester in 2004 and I gained my Master of Arts also from DeMontfort University in the same subject in 2005. I have been an ICON Accredited Conservator-Restorer since 2011 and in May this year I graduated from Lincoln University completing my PhD research, ‘Stained Glass Windows Made by Women Amateurs in English Churches, 1830 – 1880’.

I continue being involved in stained glass being a member of a number advisory committees supporting the conservation of stained glass.

Armelle Le Roux

Born and raised in Brittany, Armelle received her BA from the École supérieure des arts appliqués Duperré in Paris. She studied environmental art, with special training in mosaic, fresco, and design. At the age of twenty-one, she began the first of numerous apprenticeships at renowned stained-glass studios in France, Canada, Mexico, and the United States.

For over thirty years, Armelle has worked with teams restoring monumental stained glass, including at the San Francisco City Hall, and has managed prominent projects for the St. Thomas Church in New York and Grace Cathedral in San Francisco, among many others. For almost 20 years Armelle has been the Studio Head at Nzilani Glass Conservation.

In 2003 Armelle established her own glass studio, Atelier Le Roux, in Oakland, California. Her work there includes original pieces for galleries and exhibitions, commission design for public and private spaces such as the Tribune Building, illustration, and painting.

Armelle is a painter whose main canvas is glass. Her innovative technique of painting, etching, and silk-screening on multiple layers of glass, then fusing them together, creates unusual depth, perspective, and movement within a piece, allowing it to play with its environment and lighting.

Armelle met Frederick McDonald in 1999, and together the two conceived of the concept and designs for Remembered Light, Glass Fragments From WWII. As project director and lead artist, she selected the 12 other artists of the project.

Gemma Lees MA

Gemma completed her Art History BA at the University of East Anglia in 2022, before obtaining her MA in Stained Glass Conservation and Heritage Management at the University of York, generously supported by the Anna Plowden Trust and the Headley Trust. During her MA, she undertook a three-month placement at the Dombauhütte  (Cologne Cathedral), thanks to the Zibby Garnett scholarship. Gemma is currently completing a PhD in Medieval Studies at the University of York, graciously funded by the AHRC through the White Rose College of the Arts &Humanities (WRoCAH). Her research focuses on how late medieval merchants have represented their individual and mercantile identity through their use of stained glass, brass monuments and incised slabs in the parish churches of York and Norwich. 

Since her undergraduate studies, Gemma has researched stained glass, largely focusing on late medieval commemoration and medievalisms in 20th and 21st century stained glass, particularly focusing on the reuse of medieval glass or conventions for representation. Gemma's experience living in Norwich, a city filled with reused churches, inspired her interest in managing the relocation of stained glass windows, which culminated in her MA dissertation on proposing a framework. 

Ariana Makau

President and Principal Conservator & Executive Director, Nzilani Glass Conservation & The Fillet Foundation

Ariana Makau is the founder, principal conservator of Nzilani Glass Conservation, and founder, executive director of The Fillet Foundation. She holds a MA in Stained Glass Conservation from the V&A/RCA, in London, England; and has been involved in preservation for 30 years. Ariana was the Interim Collections C.A.R.E. Director of Destination Crenshaw and worked at numerous museums in the States and abroad including the V&A, the Met, SFMoMA and Getty Museum. Ariana has served on the Board of the Stained Glass Association of America (SGAA), is a Fellow of the American Institute for Conservation (AIC), and a current board member of the Western Chapter of the Association of Preservation Technology (APT). Makau’s work is most fulfilling when at the intersection of equity, preservation and art.

Moira Malcolm

Director, Rainbow Glass Studio Ltd

Moira Malcolm is the current chair of the ICON Stained Glass Group (SGG) since 2022 and trustee of the Scottish Stained Glass Symposium. She began her studies in Edinburgh College of Art before training in stained glass conservation in Scotland. In 2001 she decided to start her own business, Rainbow Glass Studio’s Ltd alongside her husband Stephen. Each year the company has grown and have completed many large-scale conservation projects in historic listed buildings, such as Taymouth Castle, Marischal College and McEwan Hall.

Moira has built up her knowledge and deontology to preserve Scottish works of art for future generations to come. She is now involved in both stained glass conservation and contemporary design.

Jamie Moore

Founder and Managing Director, Recclesia Stained Glass

Jamie Moore has over25 years experience in stained glass and building conservation, and a leading figure in the conservation field. He founded Recclesia Stained Glass in 2009, establishing a studio that has become renowned for its work on ecclesiastical, municipal, and heritage contexts nationwide. Jamie's academic credentials include an MSc in Historic Building Conservation, and an NVQ Level 6 in Conservation Management, underpinning his deep expertise in both practical and theoretical aspects of heritage conservation. 

Throughout his career, Jamie has collaborated with prominent figures in the field, including the likes of Sir Brian Clarke, contributing to projects that regularly blend traditional craftsmanship with contemporary innovation. A passionate advocate for the art and conservation of stained glass, Jamie is dedicated to promoting its appreciation and ensuring its continued relevance in modern practice. 

Jen Padjett

Windgate Curator of Craft, Crystal Bridges Museum of American Art in Bentonville, Arkansas

Jen Padgett is the Windgate Curator of Craft at Crystal Bridges Museum of American Art in Bentonville, Arkansas. Her role focuses on advancing craft across the museum through acquisitions, exhibitions, research, and public engagement. She is part of a cross-departmental team shaping the reinstallation and expansion of the museum’s permanent collection galleries, set to open in 2026. She has held various positions and fellowships at a variety of museums including the Philadelphia Museum of Art, Metropolitan Museum of Art, and Amon Carter Museum of American Art. Padgett received her MA and PhD in Art History & Archaeology from Washington University in St. Louis.

Léonie Seliger ACR

Director of Stained Glass Conservation , Canterbury Cathedral

Leonie Seliger is the Director of The Canterbury Studio working in the conservation and restoration of stained glass, and responsible for the conservation of the stained glass windows of Canterbury Cathedral. Leonie also advises the Dioceses of Canterbury and Rochester on faculty applications involving windows in the churches of the dioceses. Leonie studied glass painting and design at Hadamar College in Germany and holds an MA in Buildings Conservation from the University of York. She is Freeman of the Worshipful Company of Glaziers and an ICON accredited conservator/restorer.

Aude Spicher

Aude Spicher studied Art History and History at the University of Lausanne, specializing in the field of history of culture. In 2019, she received a bachelor’s degree from the Faculty of Arts, followed by a master’s degree in 2022. In 2023, she joined the research team at the Vitrocentre Romont (Switzerland). Her focus is on Swiss stained glass dating from the 16th to the 18th century. She has recently worked on historical stained glass windows (14th–18th centuries) belonging to public collections of the City of Geneva and co-organised the International Conference entitled “Collecting the Art of Light. Glass, Connoisseurship, and 19th-century Art Market”, which was held in Geneva in March 2025. Currently, she is involved in a research project of the Corpus Vitrearum Switzerland dedicated to the Swiss stained glass panels of Saint Michael and Our Lady in Wragby.

Dr Joseph Spooner

Dr Joseph Spooner FSA is an independent scholar who has worked for the Corpus Vitrearum (Great Britain) for more than twenty-five years. During that time, he has edited a number of the British summary catalogues and monographs and seen them through to press. In doing so, he has collaborated closely with the authors of these volumes, undertaking supporting research and applying his editorial, translation, and palaeographical skills. Such work has also made him a contributor to British Corpus volume (e.g., The Stained Glass of Herkenrode Abbey). Dr Spooner has taken a particular interest in the stained glass at Wragby: he received a research grant from the British Academy to explore the written sources for the material there, and also examined the English material now in storage at the York Glaziers Trust in connection with the summary catalogue The Medieval Stained Glass of West Yorkshire (published in 2023). His academic background is in Classics (with a doctorate in ancient Greek), and he also works outside the Corpus as an academic editor and translator (from French, German, and Latin).