From early experiments with weaving and neon, Chihuly has produced a range of fluid forms and dramatic installations. Throughout the development of this vocabulary of forms - from the first Blanket cylinders and Baskets during the mid-1970s, through the Seaforms, Macchias, Persians and Venetians, to the Floats, Ikebanas and Chandeliers of the 1990s - Chihuly has developed a remarkable ability to draw to him artists of great skill. His working relationship with William Morris, for example, spanned eight years: it was to Morris that Chihuly first relinquished his position as gaffer and, from 1978, they cultivated the Seaforms and then the Macchia series.

CHIHULY: Masterworks in glass shows the way in which the Macchia and Persians are the building blocks of Chihuly's most recent extravaganzas. The Macchia (Italian: 'stain' or 'spot'), in turn, succeeded the subtle Seaforms when Chihuly decided to make use of all 300 colours available to him commercially. The latter forms - begun in 1986 with Martin Blank as gaffer - are the most frequently used: whether installed vertically or horizontally, as in the Persian wall or the Persian pergola in this exhibition, they make reference to oceans, sunsets and exotic travel.