A Window Illuminating the Artistry of The Dalmore

A striking focal point within the new stillhouse, the specially commissioned fused-glass window, by artist John Kenneth Clark, is both a visually fitting piece of art and a perfect tribute to the DNA of The Dalmore. Rich in depth and intricate design, it represents the complexity of our whisky, tracing its journey from the barley field to the cask and beyond.

Rising ten metres (33 feet) from floor to ceiling, the monumental installation works to draw in light from the surrounding landscape, diffusing it through a whisky-palette of colour - warm amber, copper and ruby-red hues – and reflecting it back across the floor and stills, transforming the space into one that feels ethereal and immersive.

Born in Dumbarton, Scotland, John Kenneth Clark initially studied for an undergraduate degree at The Glasgow School of Art. Drawn to the idea of permanence, he was first captivated by mosaic before turning his attention to glass, where he discovered an aptitude for design, cutting and leading. After completing a post-graduate (MA) degree in glass etching, John began undertaking commissioned work and became a professional artist in 1984.

Now one of Europe’s leading glass artists, John is renowned for his use of acid etching, fusing and casting to create commissioned glass art pieces for public, commercial and private buildings around the world. Among his best-known works are the Falklands Memorial Window at Pangbourne College in Berkshire, England; the artwork created for the Sacred Heart Cathedral in Kericho, Kenya, and the Flock of Fishes stained-glass window at the iconic Café Gandolfi in Glasgow, Scotland.

For The Dalmore’s stillhouse window, John drew inspiration from the distillery’s surrounding landscape, the shifting light and subtle tonal changes across the Cromarty Firth, alongside the artistry of The Dalmore’s whisky making and the layered complexity of multi-cask maturation. “Hearing the stories and looking at the casks was so inspiring – and it’s just such a wonderful location,” he says.

Working closely with The Dalmore and Threesixty Architecture, the architectural practice commissioned to design the distillery expansion, John developed the creative vision before determining how best to realise the finished piece – true to his usual approach. 

“Each project is a unique opportunity to create something new,” says John. “I have always tried to push the boundaries of the material I use, searching for something appropriate to the commission. Most of the time I don’t know how I will make what I design – instead I trust my understanding of the material to develop what is required.”

After working on experimental samples, John chose to use a fusing method to create the window panels. Fusing is a technique of layering coloured glass onto a single base panel before kiln-firing it to bond the elements, resulting in a complex, unique and permanently bonded structure of glass.

Working from an annex studio at Derix Glasstudios in Taunusstein, Germany, John developed a radically new method of fusing using specialist Bullseye glass developed in the USA. Using this crushed glass – known as frit – he first created intricate lattice structures which could then be fused onto a glass panel.

John began by sketching the desired contours onto separator paper laid underneath the glass panels. Working on three panels at a time to ensure continuity, he used these outlines to guide the application of the glass pieces and frit, layering in the prepared lattice structures in selected areas.

He then removed the panels and fired them in a kiln using carefully controlled heating cycles and precise temperature plateaus in an effort to control how the sections fused. As John explains, there was, however, an element of chance to this stage: “Twenty-five percent of the outcome relied on a chemical reaction - dependent on the heat and how the glass pulled itself together,” he says.

Once the desired design had been achieved, the temperature was reduced in stages - over many hours - to anneal the panels and allow them to cool evenly. “This project with The Dalmore really is one of the most exciting, vibrant pieces I’ve ever created because we’ve moved into a very new and different use of a wonderful material,” John reflects.

The window’s design offers a visual, abstract representation of whisky making at The Dalmore, conveyed through a series of transitional stages. “The story really flows from the ground upwards,” says John. Beginning at the base, the window is dotted with tiny earth-toned glass pebbles to represent the ‘terroir’ - a term often used in whisky making to describe a sense of place: the earth, environment and climate.

Ascending into the pale yellow-green hues of the barley fields, it next shifts into iridescent turquoise blues to represent the pure water drawn from nearby Loch Morie. “Then, it leads up to this beautiful separation,” John explains. This is a large central section following a vertical line – spanning around two-and-a-half metres – to capture the moment of transformation and convey the dynamism within the stills.

As the eye moves further upwards, the piece becomes almost liquid-like in texture. “This is where the whisky is put into casks. The whole maturation phase takes place and depth of colour and flavour develop,” says John. The flavour notes are expressed through strips of colour - orange, chocolate and warm spice – layered within the glass.

At the very top, the angels’ share - the portion of whisky that slowly evaporates from the cask into the air - is evoked through a pale amber lattice structure adorned with small glittering jewels coloured to reflect the flavour and aroma of the whisky - depicting the conclusion of one cycle and the quiet beginning of another.

Drawing parallels between this incredible piece and the whisky making at The Dalmore, Shannon Jess, Global Brand Manager, reflects: “John’s work is obviously an exacting science, but he also has the ability to add a creative flair – very much like we do at The Dalmore.”

Guests are able to view the window and the new stillhouse as part of The Dalmore Experience, a brand-new private guided tour, where both will be expertly revealed from a raised viewing platform high above the space.

Throughout the course of the day, the south-facing window captures the full force of the surrounding light, along with the shifting reflections from the water and the movement of the trees beyond. Together, these elements animate the frit captured within and transform the light, casting rich colour deep into the still house.

John was thrilled with the end result. “I was astonished when I saw the window and frame in place for the first time,” he says. “You’ve got this fantastic projection of light. It’s an amazing event when the sunshine comes through it, every little speck of glass is like a jewel - it just glistens and sparkles in the light. 

The window will watch over our new symphony of stills, illuminating the space for generations of distillers to come, enduring as a lasting legacy at The Dalmore distillery. “The colours will be as vibrant one-hundred years from now as they are today,” John points out. “The window will long outlive me - and as an artist, I love the idea of that!” he adds with a smile.

For a deeper dive into the creation of the stills, please see our accompanying article in this series, A Stillhouse Built with Purpose, and to discover how our reimagined distillery was designed, see Designing the Home of The Dalmore. 

The Dalmore Experience offers guests private, behind-the-scenes access to The Dalmore distillery with an exquisite, guided tasting. Prior to arrival, guests are able to personalise their experience, adding bespoke elements through our dedicated concierge team.

Reservations for the reimagination of The Dalmore distillery are now open to all, with a limited number of visits remaining for 2026. With demand already exceptionally high, we warmly encourage early booking to secure your preferred date.