Meet the maker: Eloise McCullough

Teleisha Thomas

November 2024

In Focus Fools Glass 07 — From crafting leadlight features for Victorian terraces to collaborating on cutting-edge furniture design, Eloise McCullough, the creative force behind Fools Glass, continues to push the boundaries of what glass can do.

In conversation with In Focus, Eloise reflects on her journey with the unique medium so far and offers insight into her creative process. Plus, she reveals what’s next for Fools Glass, her dream projects, and her advice for aspiring glass artists.

What first sparked your interest in working with glass, and how did that evolve into your Fools Glass business?

My background is in design, and I’ve always been drawn to working with tangible materials. As a graphic designer, that meant experimenting with signage, paper stock, and packaging embellishments. Glass, however, intrigued me because of its textured quality and relationship with light—it comes to life in such a unique way. I saw an opportunity to blend my design skills with an ancient craft that still had untapped
complete a TAFE course in Glass and Glazing at Melbourne Polytechnic, and from there my business grew organically.

How do you define the identity of Fools Glass, and what makes it stand out in the world of contemporary design?

The identity of Fools Glass is constantly evolving, just as I am. My focus is always on creating pieces that resonate deeply with the people I’m designing for – this personal and collaborative approach is what
defines Fools Glass. I’m fortunate to work with supportive clients and collaborate with accomplished leaders in their fields. Through these partnerships, I am able to push the boundaries of traditional glass art.

In Focus Fools Glass 03 — **Glass is often recognised as a challenging and structured medium. How do you embrace its unique qualities in your creative process?**
Those times are difficult in the moment but I’m learning to embrace them. Each challenge teaches me something new, pushing me to grow. It's in navigating those 'sticky situations' that I refine my craft, and no matter how daunting it may seem, everything always seems to come together in the end.
**Have there been any pieces that didn’t turn out as you expected but taught you something valuable about the craft?**
In addition to lead lighting and copper foiling techniques, I’ve been exploring kiln-formed glass. Right now, I’m collaborating with Josh McLean and Ana Calic McLean of ‘In Addition’ studio, on a sculptural glass mirror artwork piece for an upcoming exhibition. This process has involved a lot of trial and error, and I’ve learned so much along the way. The outcome has surpassed all our original expectations, and it’s been an exciting journey.

Talk to us about your current Fitzroy home project. What was the brief?

I was commissioned by a young family and their interior designer to develop a leadlight feature for their Victorian terrace home on Gore Street. The piece will feature above the entry into the primary bedroom. The historic home is undergoing extensive renovations, offering plenty of inspiration—blue walls, bronze glass bricks in the bathroom, a striking slab of duck egg blue stone in the kitchen, and vintage Murano glass light fixtures. I t was clear the clients had a bold design vision and an appetite for colour.

Are there any upcoming projects or collaborations that you’re particularly excited about
or a dream project you would like to manifest?

Fools Glass is collaborating with a local furniture designer on custom bar joinery for a home in Main Ridge on the Mornington Peninsula. I’m creating around 150 amber-textured fused glass tiles, to be encased in beautiful timber and illuminated. The outcome will be pretty special.

Talk to us about your workshops.

I started facilitating workshops because I find it incredibly rewarding to share my craft and see others get excited about glass. I began teaching at my f ormer TAFE, Melbourne Polytechnic, but now I run these sessions in my own studio in Brunswick. In the workshops, I teach the copper foiling technique, and each participant creates their own glass mirror to take home. The best part is connecting with the participants and seeing them pursue the craft.

What advice would you give to someone looking to pursue a career in glass design? Where do they start?

I’d suggest attending a short course or a workshop to get a feel for it (go easy on yourself and don’t expect perfection right away!). Find your niché, and build relationships with artists in the glass community.