From stromatolites to celestial bodies, Tunguska5 is imagined and inspired by elemental visions of terrestrial forms. Rediscovered through "formless-forming", a process by which the glass is solidified, shattered, fused, and finally balanced in a fragile, yet stable trans-formation; becoming an aesthetic artefact and site of metamorphosis.  Working from ground-zero, giving form and body to this certain "free-formlessness" intrinsic to the material, these are first steps towards something delicately monumental.

Llewelyn Ash, Rising and Falling 2009 (detail), blown glass, sandblasted and engraved

The imagery on the blown glass forms are in response to the landscape surrounding me. These are particular landscapes, mainly coastal, ones which contain memories, suggestions, hope along with connections to the past and future. Landscapes which symbolize and help define belonging, longing and personal change are a focus to my work. In this work, the formal compositional elements of wood engraving and linocuts are incorporated with the Japanese device of magnifications (as used in their ceramic decoration) to show details.

Christopher Boha, The Space In/Between: 24 Weeks 2009 (detail), hand blown reliquary jars, newspaper, recycled wood

'The Space In/Between: 24 Weeks' is a glass instillation of twenty-four hand blown reliquary jars, each containing an origami prairie lily constructed from newspaper. The work is about memory and nostalgia. It is a blending of personal memories of Canada and the creation of memory in day-to-day life. Twenty-four is significant as it represents my first six months, or twenty-four weeks, of living in Australia while the lily is the flower of the province I am from.

My work reflects my fascination with people and the subsequent search for meaning behind the inherent fear that precedes this fascination. I capture the feelings, emotional obstacles and experiences within life, and I then create sculptures to help heal the loneliness and indeed the sadness, which initiated these images.

With my recent work Scales of Injustice I have represented Mother Earth through two female feet in red glass. These feet stand on the scales of justice, indicating the footprint of humankind and making reference to global warming. Money is denoted on the scales, referring to the cost of the repairs that will need to be undertaken.

Glenn Carter, Spartina 2009, painted and stained on clear white glass, laminated and cold worked

This work is one of a number of pieces I have been working on using the traditional medium of staining glass as historically applied to architectural glass, re: stained glass from the early C14. Using traditional painting methods the colour has been painted in a series of layers and fused. The external shape and surface reflect an inner and outer light and explore the relationship of both the form existing as an edge and an aperture.

Kirsten Costello, The Fancy Rats 2009 (detail), cast Blackwood crystal

I wanted to beautify, purify and elevate animals that we would typically be repulsed by. I found the rat to be a particularly interesting subject for a few reasons: firstly because they're frequently used in scientific research, which is paving the way for future scientific and medical advances. Furthermore, there is a wealth of myths and legends that surround the Rat. Finally, because they live in close proximity to human settlements, they thrive in the places we neglect and feed from our rubbish. The essence of the rat is inextricably tangled with the squalor, dirt and under-belly of our world.

Samantha Cuffe, Femmes le Lacet (series) 2009, blown, sandblasted and engraved glass

The Femmes le Lacet series is informed by the progression of women in art and the history of needlework dating from the 18th Century. It comments on the restrictions female artists experienced during those times, including the limits to their subject matter. Only domestic scenes and portraits were considered suitable, representing a nude for example was not permitted. A woman's femininity was threatened by society whenever her actions went against 'normal' expectations. Hence this work has a strong feminine presence through the inclusion of elegant lace designs etched into the surface of the glass.

Bernadette Foster, Rare Birds 2009 (detail), blown and hot sculpted glass, assembled, cage, wood and flocking

The fantasy objects I create are the direct result of the forces that shape my daily life. I desire to construct environments where the characters I compose have the opportunity to tell a story or make their own statements. My relationship with my daughter Siofra plays a huge role in my work, the way I have been exposed to her world infuses my creative process. My creations also propose to open or make way for the possibility for an escape, an escape into fantasy or 'other-worldliness'. I wish to throw open the doors to memory, imagination and creativity. Ultimately, my emphasis is to value the place of dreaming and imagination in contemporary life.

Tara Guinness, Breaking Point 2009 (detail), blown and slumped glass, screen printed enamels on kiln formed glass, steel

Reflecting on my everyday lived experiences, I was struck by the fact that what I was not doing in my life was in fact of utmost significance. Having studied classical music and played the viola daily since I was a small child, my musical journey changed radically when I snapped a tendon five years ago. Moments such as unfold new destinies and can be abstracted to the bigger philosophical picture for they are part of the human condition. What is missing and hidden below the surface of life becomes far more important than what is readily expressed and it is on these reflections that my work is based.

Tegan Hamilton, Chiron III 2009 (detail), hot formed and sand cast glass

My work is an exploration of the figure through science, history and art.

Derise Hemmes, Acid and Salinity (the ripple effect) 2009, fused and slumped Bullseye sheet glass

Accelerated climate change and global warming are strongly implicated in the world's changing rainfall patterns and diminishing water resources and this body of work deals indirectly with the human impact on the environment, focusing specifically on water. In Australia we are faced with unprecedented levels of soil acidity and salinity whilst our major river and wetland systems are slowly dying through unsustainable levels of irrigation during a prolonged and severe drought. These ideas are suggested through the use of symbols exploring the changes taking place and the preciousness, fragility of the landscape is alluded to by the monochrome palette.

Naomi Hunter, Hidden Connection 2009 (detail), blown and manipulated glass

I explore the idea of making visible, the invisible, showing through the material that which is normally unseen. Using the material of glass I explore the ongoing synthesis between mind and body. It is the space in-between the material body and immaterial mind, where the visible gives way to the invisible that I endeavour to articulate through my creative practice.

Kate King, Ill made idol 3 2009 (detail), cast crystal

We are animals that desire. These works explore the implications of this instantiated by our dreams off flight. These idols physicality expresses dissatisfaction with being earth bound but with the inability to fully become what we are not. They suggest we cannot desire without ceasing to be what we were. Reaching for what is beyond us has deformed us changing how we see ourselves and making us blind, deaf and mute to the plan set out in nature. However, our desire has also made us proud and frighteningly successful.

Amelia Knight, Reconceiving Woman 2009, cast glass

This work approaches the topic of uncertainty through the act of suspension. The suspension in the installation is a physical trigger to the precarious nature of the subject matter; a literal depiction of the topic. The work explores non-functional form of the funnel as an analogy for female infertility. The uncertain can be located in the precariousness of the glass objects hanging in mid air. The collections of funnels represent my perception of women living with the situation that is female infertility. The liquid leaks from the funnels and leaves a mess in the space below. This is done deliberately in an attempt to show that the situation cannot just be cleaned up and forgotten, it is lived with every day.

Patrick Lynch, ex voto suscepto 2009, glass, silicone and steel

My grandmother, Heleanor Feltham, is the main reason I became a glass artist. In 2008 she was diagnosed with multiple myeloma, a systemic bone-marrow cancer, which 'eats' bones. The cancer had manifested as a tumour in her spine and threatened to paralyse her permanently. At this point I decided to create an ex voto suscepto, an ancient custom of creating an offering for a divinity as an act of gratitude for help received or future aid. I started to make the spine as she came out of chemotherapy: building it as she was rebuilding hers.

Jessica Mackney, Refuge 2009 (detail), screen-printed enamel on float glass

Refuge is an exploration of the role land has on an individual's identity. The various sanctuaries we place ourselves within have the power to transcend the physical world and reach our psyches, influencing and shaping the mind in the process. Inspired by the sublime and notions of physical/spiritual refuge, I have communicated my own identity through the representation of memory and time. Conceptually my piece acts as a self-portrait, going against the traditional view of this art form being figurative. I believe self-portraits to be indications of memory, time, emotion and personality; concepts that I feel can be similarly communicated through landscape works.

Karina McDonnell, Rabbi 2009 (detail), pate de verre

It seems to be a rag. A toy that has well passed it's used by date. However these toys are relics of a period in a life that many people will identify with. The relationship between owner and dog is indestructible. My dog Maida, has given me unconditional love through illness and wellness. My aim at recreating her favourite puppy toys was to make them precious. She is precious to me. I wish to share that feeling.

Madeline Prowd, Lush 2009, blown and cut glass

Part of an extended series, Lush is a comment on my direct physical interaction with space, as well as my emotional response to the landscape. I am creating patterns, textures and forms that draw directly from the natural environment. In a series of grouped, organic vessels, I invite the viewer to experience the glass forms, details, surfaces and compositions as an interpretation of the space that I have experienced.

Janine Tanzer, She Weaves Her Web 2009 (detail), glass, stained glass colour and lead

As I grew up, my mother instilled her thoughts into my head

Jasmine Targett, Beyond The Visible 2009, hand blown, dichroic and sandblasted glass

'There is no logical way to the discovery of these elemental laws. There is only the way of intuition, which is helped by a feeling for the order lying behind the appearance.' –Albert Einstein. Beyond the Visible dissolves the microscope and breaks down the shell of the atom, offering visual insight into alternate unseen structures within the universe that exist in realms beyond our current means of visual comprehension.

CJ Taylor, Leviathan (towards away) 2009 (detail), cast glass, data projection, sound, steel, sump oil, hope

I see ways of seeing grounded in both science and the arts, in proof and in theory, in fact and in fiction. Some are also odd, prickly and wry. Darker in their ambiguous meaning and processes they are potent snapshots of a future embedded in the past. They are mischievous. They articulate an inaudible whisper of an unidentifiable time. A proto-photo pictorial pastiche, gently realised, gruffly, beautifully edged. 

Belinda Toll, Time contained 2009 (detail), glass, mixed media and stainless steel

Time contained is an exploration into the visual representation of the notions of memory. I am interested in how memories are fleeting; they change depending on an individual's perception and perspective. Through glass our vision can be manipulated to provide clarity or it can obscure and distort it.  I am using the optical qualities of glass to convey the idea of memories distorting and changing depending on how they are viewed by the individual.

Zoe Woods, Inversion 2 2009, blown glass, sandblasted and drill engraved

I am interested in exploring the optical qualities of glass and its ability to distort through the application of imagery onto blown forms. Three complimentary pairs strike a balance between optical polarities: light and dark, random and contrived, negative and positive. Each pair comprises a 'camouflage' vessel, which contains an animal figure on an organic textural ground, and a complimentary piece, which utilises the exact same forms, but in an uncontrived arrangement.