A rare opportunity to learn the intricate art of stained glass is coming to Inverell this July, with only two places remaining in a highly sought-after weekend workshop led by local artist Peter Robinson.
The two-day workshop, running on 11–12 July 2026, will be held in Robinson’s Inverell studio and is designed to give participants hands-on experience in traditional stained glass techniques, from cutting and leading through to painting and kiln firing.
Robinson, who has worked in stained glass since 1980, said the craft has been a lifelong passion that began with early restoration and church work across the region.
“Since 1980… in ’82 I did the Inverell Catholic Church,” he said. “When they pulled the old church down, we pulled the local windows out and we did them for the new one.”
After spending a number of years working in Sydney, Robinson eventually returned to the New England region, continuing both restoration work and new commissions.
While stained glass is often associated with churches and heritage buildings, Robinson said much of his current work is residential, with both older and newer homes incorporating custom glass pieces – although demand for new commissions has become more limited over time due to cost and the labour-intensive nature of the craft.
“It’s mainly residential,” he said. “It all depends. It’s labour intensive, so it’s expensive. So it’s mainly a lot of repair work.”
The upcoming workshop is part of Robinson’s long-standing involvement in teaching stained glass, including previous sessions at university summer schools in Armidale and workshops held across regional areas.
“I’ve been doing workshops for quite a number of years,” he said. “I used to hold Eastern Summer School workshops at the uni down in Armidale, plus weekend workshops around Bugaldie and around the place.”
After a break from teaching in recent years, Robinson said he decided it was time to reopen his studio to students.
“Within the last few years I haven’t been doing any workshops, but I thought it was time to spread the word a little bit more,” he said.
The Inverell workshop is strictly limited to four participants to ensure a hands-on learning experience, with Robinson emphasising the importance of individual guidance in a craft that requires precision and care.
“I only have room for four people,” he said. “I pull the pin at four, so there’s plenty of room and I can get around everyone much easier.”
Across the weekend, participants will create their own stained glass panel using traditional lead techniques, with some workshops also incorporating copper foil methods and painted glass elements that are kiln-fired on site.
“I vary them slightly from workshop to workshop,” Robinson said. “Some I do all lead and some with copper foil, and I’m thinking of doing a little bit of painting so they know how to use glass paint. It’ll get fired in the kiln on the Saturday and then they can pull it out and look at it on the Sunday.”
Even for complete beginners, Robinson said no prior experience is required.
“Total beginners can take it on,” he said. “It just depends on whether they want to do it or not.”
The inclusion of painted detail – such as facial features or shading on figures – adds another dimension to the workshop, allowing students to see how stained glass artwork can be brought to life.
“Just a few brush strokes to bring out points on a panel, maybe an eye or an eyebrow or a finger or something like that,” he said. “Just something small.”
Robinson said participants consistently leave the workshop with a strong sense of achievement.
“I’ve never struck any of them that haven’t enjoyed it,” he said.
He also pointed to the value of preserving traditional craft skills in regional communities, where hands-on artistic trades are increasingly rare but still deeply appreciated.
The workshops are held in his Inverell studio, which Robinson said allows students to work with all the necessary tools, glass, and equipment in one place without needing to transport materials.
“I’ve found it more convenient for students to come to my studio where everything is there,” he said.
With only two places remaining for the July workshop, Robinson said he will consider running future sessions depending on demand.
“It all depends,” he said. “If I get the numbers, I’ll hold them. Who knows, there might be one further down the track.”
For those considering applying, the workshop offers a rare chance to step inside a specialised craft that blends art, restoration, and history – guided by a practitioner with more than four decades of experience.
Applications can be made via Stained Glass Works at https://stainedglassworks.com.au/index.php/peter-the-artist/leave-a-message.
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