It’s a rare thing to look at a cocktail and be equally seduced by the shapely glass as the liquid it holds. Jessamy Kelly’s designs, however, are the kind of glasses that could throw a party all by themselves.

Simple and elegant in style, each piece of “art glass” is a limited edition — the sculptural and sensual forms are inspired by the contours of a soft landscape and the curves of the human body.

“It’s all about the material for me,” says Kelly. “I’m very focused on the qualities of material and how I can bring out the best in them.”

Kelly, 30, took her bachelor of arts degree in glass and ceramics at the University of Sunderland before studying for her master of design degree at Edinburgh College of Art in 2002, which included a valuable placement at Edinburgh Crystal as a student glass designer and apprentice.

“There are very few glass blowing studios left in the country,” she says. “What I picked up at Edinburgh Crystal really cemented my passion for glass making.”

Last week she handed in her PhD on glass practices, a comprehensive study of traditional and contemporary techniques, which should make her a “doctor of glass” by the end of the year. She has also been appointed artist-in-residence at Edinburgh College of Art where she will pass on the skills she has learned to other students.

Already a specialist in her field at such a young age, Kelly’s clients include Edinburgh Crystal and the television designer Kevin McCloud’s homeware brand Place.

It’s not difficult to see why her unique, high-end designs are so much in demand. She uses traditional techniques such as kiln casting, fusing and glass blowing to create the complex scultpural forms.

Kelly channels light by cutting away or manipulating the materials to expose the inherent qualities of glass and ceramics (she often combines the two materials in one piece). The refining process is also a mix of traditional handcrafted techniques such as engraving, diamond cutting and sandblasting.

“Glass and ceramics are materials with many common qualities; processed in similar ways, they are transformed into functional or decorative objects,” she says. “They are however, not often combined in artistic practise. The translucent blend of glass and ceramics intrigues me, when light passes through the materials to reveal an inner beauty and luminosity.”

These are techniques that are slowly dying out, but Kelly hopes her published research and artist-in-residency will help pass them on to a new generation of glass makers.

“A lot of the techniques are very specialised and can be very time consuming when you’re first learning them,” she says. “Unfortunatety, the crystal glass industry has been dying for a while and all those techniques are in danger of being lost. But a few people are still practising and I keep going with it because I enjoy it so much. I’m very much about sharing.”

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