An excerpt from Mark's interview with Betty Reid can be read below and the full magazine can be ordered online. 

What do you get out of glass as a medium?

For me there is no other material that demands your concentration and is so all- encompassing. When you’re making a piece you have to be focusing on it. Every little input ... has an effect on the final outcome. It’s also very immediate. I was drawn to that when I first worked with it. You can make a decision about the piece you’re [creating] and have an immediate effect on it. You have to commit with glass.

It’s a multifold thing really. As a material it’s very challenging. You struggle with the technical side of it a lot to begin with so you have to put your time in there. It’s a relatively intense environment to work within because of the heat and the hot wobbly glass you’ve got at the end of the iron. You’ve got that combined with the way it changes as a material as you work with it. When it’s hot it’s very malleable, it’s very open to suggestion. If you’re too rough with it, it will just fold. So there are points when you have to be absolutely, infinitely delicate with it and there are other times you have to be quite aggressive. It’s an ever-changing beast. You can’t ever get bored working with it. And then the outcome is you get this beautiful, translucent, wonderful, bright, colourful, refractive material. All in all, the making of it’s great, the end product’s great. It’s just expensive to do it. That’s the only problem.