Ensemble: The Artworks
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
A
Racquel AUSTIN- ABDULLAH
You left something behind (Wangkumara woman ) 2012
Furnace cast glass, fabric and thread
Tony ALBERS
Chloroplast Series: Grass 2012
hot glass
Inspired by sprouting weeds, Chloroplast series - Grass captures the fluid and playful motion of an evergreen world. Each blade individual within its own space, whilst together, their collective tension creates a natural hue of reflective colour and movement.
Greg ASH
Blue Wave 2012
fused and slumped glass
The wave and ocean influence for all Australians of my generation was always there. The waves looking from above, and on so many occasions, from below as we were forever being dumped.
Christine ATKINS
Refraction VI 2012
glass, LED, tint
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Susie BARNES
Twirls Necklace, Landscape Planet Necklace 2013
lampworked borosilicate glass
I'm not a purist, therefore I like combining traditional techniques with found objects and curious materials.
Leslie BAXTER
Larapinta Botanica II 2012
lustre and black trace on float glass, photographic imaging
I aim to create fascination and intrigue beyond the initial expression. This glass artwork combines my love of photography with transparent metallic colouring techniques and minimal feature to reflect and transmit light.
Clare BELFRAGE
Swatch # 30611 2011 begin_of_the_skype_highlighting 
FREE 30611 2011 end_of_the_skype_highlighting
blown glass with cane drawing
My work for the last devade has been drawn from the rhythm, patterns and detail found in nature. It has always had a natural relationship to textiles and with this piece I have moved more consciously towards the qualities and rhythm of woven lines.
Norman BORG
Harlequin Series – Torso 2012
blown glass, murrine, cane
The Harlequin Series has provided me with a platform to play with a number of vibrant colours and to guide, coerce, push and cajole the glass into whimsical shapes.
Roger BUDDLE
Scribbly Gum 2012
multilayered kiln formed glass
This panel continues my work in multi-layered, multi-fired panels. The subject, the Scribbly Gum, has always fascinated me. The random patters formed on the eucalypt trunks by the burrowing larvae of a moth have a delightful haphazardness about them which is very hard to reproduce in such a random manner. The glass trunk is prepared as a separate piece with the ‘scribbles’ formed by manipulating glass stringer. The trunks are then fused onto a clear base and several layers of background glass added in separate firings.
Michelle BURGOINE
Anemone Adventures 2012
flame worked, cold worked borosilicate glass
I am fascinated by the differing transmission and refraction properties of borosilicate and its endless possibilities.
Verity Jasmin BURLEY
Ventricle (deep purple / blood red) 2012
blown glass
The title Ventricle stems from the forms design and shape which is much like our heart. The two openings at the top are what give the idea of separate ventricle’s and allude to the simplified shape of a heart. Glass as a material is used as a metaphor to represent our fragile emotional nature as humans in that hearts can be broken.
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Lisa CAHILL
Breeze #2 2013
kiln formed glass, aluminium, stainless steel
The fragility of glass combined with the impermanence of paper is intended to evoke notions of an ephemeral landscape or seascape and encourage the viewer to consider the transitory nature of human existence. This work is a document that ponders the reality behind the visible and becomes a place for quiet contemplation.
Maureen CAHILL
Perceived Perception 2012
kiln fired, cold worked and mirrored glass
The eye of the beholder and the eye of the self don't always see the same.
Hayley CARPENTER
Push/Pull, Overlooked Series 2012
blown and hand finished glass, printed ink on float glass
Did you put out your wheelie bin this week? I did.
I seek to make visible the relationships between people forged by interactions with everyday objects. With my hand finished blown glass forms I explore and elevate attention paid to the commonplace.
Alexandra CHAMBERS
Light Switch 2012
blown and lampworked glass, matchbox
I use glass as a medium to represent objects which are defunct or 'extinct', combined with objects familiar to our popular culture we are presently immersed in. The glass components become 'artefacts' preserved to tell a story for future generations on what life was like 'back then'.
Scott CHASELING
Blip 2012
glass, plastic
Anne CLIFTON
Wildflower Perfume Bottle in Taxi 2012
blown glass with murrine and lampworked inclusions
A delightful project with many playful signifiers
Erin CONRON
Merge #1 2013
blown and cold worked glass with enamel paint
I am interested in the common threads of everyday human experience. These repetitive daily activities inevitably form and shape the very structure of our identities. My work explores the marks and memories of life that build up over time, to form the structure and complexity of an individual.
Tina COOPER
Spirit of the desert Wirrawong (red);Spirit of the rainforest Wirrawong (green) 2012
hand blown glass
Tina Cooper has created a series of work honouring the past tribes by melding the ancient stories of our Indigenous past and the ancient medium of glass art. The 'Wirrawong' series enrich the vessels creating a deeply felt response which resonates within each vessel.
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Estelle DEAN
Proximity 2012
glass frit, frit de verre, hand moulded
The humble fortune cookie used as a metaphor of cultural awareness, change and acknowledgement.
Spike DEANE
The woodcutter's daughter 2012
glass, wood, silk floss; lost stick casting
Human beings are story tellers. My work draws on narratives found in folk and fairy tales to explore themes of individual transformation and metamorphosis, of ‘becoming’ and human agency. These tales, deceptively familiar, evoke archetypal figures, myths, legends and fundamental truths from our lived experience as social beings in an ever changing world.
Every generation finds its own way to re-imagine the core stories of our folk traditions. It is this process of reinvention and renewal that underpins my work.
James DODSON
Reticellowl 2012
hot glass
I like to challenge myself by trying established techniques to enhance my skills and add to design ideas. I recently tried the Venetian reticello technique for the first time and it gave me a lot of satisfaction to combine it with one of my Sooty Owl production pieces to make this goblet. It has been a privilege to work with glass for over thirty years and to have the support to allow me to combine my work with play.
Grant DONALDSON
Red Coolamon Platter 2013
hot glass, engraved
This piece is a tribute to many of the people that I have worked with on the land. They are now ghosts walking beside me. Their love of the land, their dreaming, has soaked into my soul.
Ruth DOWNHAM
Waves of colour 2012
glass, kiln formed
I really enjoy the eye-catching capabilities of working with glass. A rainbow gets me every time.
Evelyn DUNSTAN
Lucid Dream 2012
lost wax kiln cast Gaffer lead crystal
Interested in the contradictions of coexistence and interdependence, Lucid Dream questions the influence subconscious belief and desire reflect in how we interpret observations, alter perception and shift direction.
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Mark ELIOTT
Hands can talk (a work in progress) 2012
flame worked glass
As a tribute to the 'Sea of Hands', this was blown through a flexible blowpipe with the breaths and colour choices of over fifty students and their carers on Indigenous Students Day 2012 at Sydney University.
Judi ELLIOTT
In the presence of one's home 2012
kiln formed glass
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Silvana FERRARIO
Crossroads: Lavender fields 2012
kiln formed glass
The imagery of life in my mind is many faceted: overlaid visions, memories, objects, experiences, feelings and movement – which go to make up a rich tapestry to my existence.
Silvana FERRARIO
Billabong 2011
kiln formed glass
The imagery of life in my mind is many faceted: overlaid visions, memories, objects, experiences, feelings and movement – which go to make up a rich tapestry to my existence.
Jon FIRTH
Atomic powered kitchen utensils (How I learned to stop worrying and love the mortar and pestle) 2012
lost wax cast glass, Bullseye frit
Inspired by my admiration of the Kubrick movie 'Dr Strangelove', a strong belief in the insanity of nuclear weapons and my love of cooking.
Alexandra FRASERSMITH
Glade 2012
lost wax cast glass
My work captures the connection between the human body, nature and architecture. I am also interested in the structures and patterns reflected in devotional architecture, especially from the Gothic period.
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Geraldine GANDOLFO
Remembering the Children 2011
screenprinted and kiln formed glass with fine silver foil and sterling silver wire, displayed on clear perspex
Ghostly children gaze unsmilingly, spirits subdued by the grim reality of institutional life, separated from family and frequently siblings. Some family members still remain lost to each other.
At least 500,000 children experienced institutionalized care in Australia from 1900 to the late 1970s. While some benefitted, many others suffered. This is part of their story.
Polina GAVRIA
I am not my thoughts 2011
kiln formed glass
Our thoughts are a product of chemical and electrical reactions in our brain. We have the power to change them.
Alasdair C. GORDON
Kelp divers 2012
copper wheel engraved cameo glass
My intention in this work was to depict the fluidity of submerged figures.
Eileen GORDON
Flight Feather I; Flight Feather II 2013
hot glass with cane drawing
In my work at the moment I am trying to capture a moment in time - like a feather floating the wind, using fine cane to draw with.
Rish GORDON
Dragon 2012
triple cased glass, sandblasted and engraved
Most of my work is from wildlife and nature. For a change I have designed a mythical beast - the dragon.
Marc GRUNSEIT
Yes we can 2012
kiln formed glass
‘Yes we can’ preserve some of the beautiful parts of our wondrous natural environment if we all really want to.
Otherwise, this simulacrum may be all that remains.
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Ursula HALPIN
Absent Presence (Alison) 2012
blown, hot sculpted, sand cast, kiln cast and cold worked glass
Consistent with manifestations of memory, time and distance, this most recent body of work explores my identity, memory, loss and connection to place through poetry, landscape, and form. It is inspired by the works of Irish poets and the rocky landscapes endemic to my native Ireland.
Jeff HAMILTON
Small Vertical Soundscape 2012
stained glass
Small Vertical Soundscape continues my exploration of contemporary base-driven electronic music. The initial artwork is a black and white rendering of the strident and aggressive energy and rhythm of the the music that I listen to and dance to.
All the leadwork is set out on paper before any decisions regarding colour are made. Then working with the glass I aim to capture the mood of the piece, the brooding base, the complexity and layering of the musical construction.
Christine HANNAN
Moments 2012
kiln formed glass
These bowls capture a moment in time inspired by the natural environment which is in a constant state of growth and decay.
Marina HANSER
Healing Process 2011
kiln cast, pate de verre, carved, sandblasted and cold worked glass
My physical connection to the material through heavy carving allows me the translation of personal emotional scars and wounds into my work. I create a scarring onto the glass and use heat to heal it, which see as a metaphor for the healing process of wounds.
Ros HARRIS
The Behaviour Series - Multiple Personality Disorder 2012
fused, slumped and sandblasted glass
The madness of many fighting to take control their continuous forced motion aiming to erupt and dominate the surface.
Sue HAWKER
Gilding Lily 2012
pate de verre
Gilding Lily questions William Shakespeare's famous speech in King John.
Sara HELLSING
They called him the bowerbird 2012
blown and cold worked glass, found objects
My work explores intertwined elements of story, memory and personal connection. Carrying traces of their former owners with them, objects become containers for story and memory. They provide a physical connection to absent people, acting as place holders in their stead.
Kate HERLIHY
Eggy 1-2 2013
glass, murrini, blown and hand finished
The themes of my current work include introspection, growth, and transition between states of consciousness and unconsciousness. These ideas evolve from a desire to explore and create a physical manifestation of these thoughts.
Shirley HERSCH
Synergy I 2012
pate de verre, kiln formed glass
The whole is greater than the sum of its parts...
Thus new composition is inspired by the intriguing phenomenon of fractals that exist within the natural world. The technique of pate de verre intends to highlight the paradox between the fragility and resilience found in all natural forms.
David HOBDAY
Kiss and make up! 2012
kiln formed glass
A familiar theme depicted by body language and ancient runes - resolution of conflict by communication, love and warmth.
Fiona HOLMES
Bracelet Lariats; Necklace Lariats 2012
lampworked glass, leather and sterling silver
The colour, texture and form of molten glass has always intrigued me and I am constantly looking for ways to change the form and function of lampworked glass.
Lee HOWES
The Bay 2012
layered cast glass
This piece relates to the many holidays spent at South West Rocks and the beautiful waters of Trial Bay.
Naomi HUNTER
The Spill II 2012
blown glass, acrylic and natural dyed wool and cotton
My creative works are glassy, rigid, un-flesh-like in their texture yet the transparency of glass - its ability to look or ‘see through’ - invites the viewer to reflect upon the question what is the body, asking where does the exploration of liminal spaces between body and the world begin?
Whilst the perception of body is that of a separate entity of flesh, blood and matter contained with the skin these boundaries are blurred. By foregrounding this blurring of spatial boundaries within the body through the transparency and materiality of glass I question the notion of how we perceive bodies as being separate from the world rather than being-in-the-world.
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Vivienne JAGGER
Coming to shore 2012
fused, slumped and cold worked glass
This shallow bowl holds the colours, small movements and reflected light of the sea as one approaches the shore.
Jan JASMINE
Ebony and Ivory 2012
flame worked glass
I love the challenge of creating a large hollow bead and then decorating the surface with intricate patterns and designs. Each bead has its own unique personality and stringing them together presents its own challenge to make sure they work well together as a collective.
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Belinda KAY
Distilled Life 2012
found object, kiln formed glass (coldworked, re-fired), perspex stand
The collaboration between found objects and kiln fired glass has a personal appeal in the presentation of my work. I particularly like the liquidity of glass and the narrative of this found object.
Jenni KEMARRE MARTINIELLO
Red Fish Trap 2012
hot blown and cold worked glass with canes
As an Aboriginal glass artist my aim is to pay tribute to the world's oldest surviving weaving practices while appropriating the contemporary medium of glass to become a vehicle of cultural expression within the aesthetics of both. This work seeks to evoke the interplay of light, form and colour of traditional Aboriginal fish traps from North East Arnhem Land woven from reeds.
Gerry KING
Beneath the Moon 2013
kiln formed glass
Toying with the edge of realism this work responds to the complexity of landscape and the nuances of change as the seasons mature in the Mediterranean climate of South Australia. My interest in landscape arose when confronted by the profound difference in seasonal transformation while resident in the snow region of North America in the 1970s.
It was enlivened recently when travelling less than 20 kilometres from home, exposed to the acute impact of the rain shadow. Layered upon this land is the intervention of Western civilization, the division into paddocks, the intaglio of the plough, the induction of exotic colour. Once universally seen as progress and development it has sown its own seeds of doubt as the land responds to the removal of trees in favour of the cash crop. That which appears as permanent is but a ‘season’ of continual change.
Nada KESIC
Inescapable Reality Perfect Imperfection 2012
Bullseye glass powder – cast & Bullseye dichroic glass slumped overlay
The brilliance of life’s inescapable energy bursts from the thin shells whilst below in stark contrast lie the blackened inert legacies of injury, pain and loss. It is the inescapable reality of an accident and its aftermath.
Perfect Imperfection 2012
Bullseye billets one and two piece moulds - cast
The 3 fuchsia figures depict not only physical recovery from an accident but the journey from dying to regain a foothold in the world, to find myself, to acknowledge my presence here. I had left behind a place pure, of peace and beauty and came back to the pain of the world to the imperfection of it and myself. I had no connection with all that was; hence the fading legs where along the way I regained form and definition. The last fuchsia figure is whole but still rough around the edges. The right breast pierced, a faded memory. Though imperfect, she is herself...beautiful and complete.
Laurel KOHUT
Power and status 2012
blown glass, cut, cold worked, assembled
The crown is a potent symbol and within my work it signifies the types of objects that endow the bearer with status or respect. In binding our ego to these desirable yet transient objects we become more emotionally exposed to loss and disappointment when they vanish from our hands.
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Sheena LARSEN
The artist's reel 2013
borosilicate glass, flame worked
Need to juggle, need to be quick, keep yourself balanced, don't miss a trick, grab at life, passion in love, life unfurled, jig on the world.
Jenny LOFT
At the Crossroads 2011
lead crystal, lost wax cast glass
This hybrid work, both wood and bone cast in glass, speaks of our modern relationship with fire. In deep evolutionary time, lightning brought fire to the land: a destructive and productive force. Today human populations are "standing at the crossroads" considering the fragile balance of our interactions with fire.
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Pamela MANNING
Crescent shaped handbag with coin purse 2012
cast lead crystal, metal alloy
Glass is the perfect medium to reflect on the contents and history of the internal space of the handbag.
Nicki MARCEL
The Secret Life of Objects 2012
cast recycled glass, audio
The Secret Life of Objects invites viewers to consider the gallery space, people and sound from the object's perspective. Inspired by a visit to the Corning Museum of Glass, this piece is one from a series of four - each with their own audio.
Kristin MCFARLANE
Travels in Spain / Travels in Italy 2011
kiln formed glass, decal prints, silver leaf, printed inclusions
When travelling, photography alone does not capture all the layers of an adventure; collecting physical specimens of participation and the keeping of visual diaries can help to capture memories. These pieces contain experiences of travelling to Spain and Italy, sourced from memories in my visual diaries and transferred into glass.
Andrea MCKEY
Primavera 2012
glass, silver
I love bright colours and patterns and am currently trialling round bead techniques on my crocodile tear drops and these worked beautifully.
James MCMURTRIE
Grampians Light 2012
blown, cold worked glass, steel light base
This piece of work is inspired by the landscape surrounding me, in particular the horizon line of the mountains in the Grampians National Park.
Nadia MERCURI
Opaline Bloom 2012
blown glass
My journey of discovery is both metaphorical and organic. An exploration of the inner universe; the origin of all ideas and quests for knowledge. Concepts take root, grow and flourish, blossoming into existence. In light of the ongoing destruction of natural habitats, the discovery and diversity of botanical life forms continues on Earth. The nature and properties of all species offers us potentials in understanding the importance of the limitless networks of life on this planet and beyond.
Peter MINSON
Australian Bird Series 2013
lampworked borosilicate glass
I have been developing an Australian Bird Series over the past three years focusing on rare or endangered birds in remote areas of Australia.
Carmel MOLLISON
Flightie 2013
flame worked borosilicate and quarry rock
Flight of fancy; on the fly; trying to keep afloat and beyond. Sometimes you don't feel so on top, you feel heavy and weighted but there are energies and mystery winfs which hold you up and gusts you along. Then those crazy rapids of life become thrilling and fun.
Richard MORRELL
Bowl of Promises 2012
spin cast glass, machined stainless steel
The bowl form is central to my work. As one of the first human artefacts, it represents for me the dawning of culture, nurture and indeed, civilisation.
Nick MOUNT
Twin caspers on jarrah 2012
blown glass, surface worked, olive wood stems, jarrah base
I like to think of my recent works as scent bottles, because they still (I hope) carry the scent of the maker. The components of my new compositions refer directly (more or less) to the natural forms of fruits, vegetables, nuts and gourds. I use traditional techniques for colouring and forming the glass and then hand carve and fit the stem shapes from Olive wood.
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Anne OBERIN
Cosmos 2012
flame-work glass beads
I love the glorious excitement of flame-working. Beadmaking is a joy and delight in my life, and sharing this and the jewellery making that follows as I use each bead is an extra pleasure.
Ruth OLIPHANT
Coptic 2012
carved and enamelled glass
Caroline OUELLETTE
Still 2012
glass
I call upon collective memory to trigger the viewer's haptic imagination. Memory of an event which, by its beauty, has lifted the hair and misted the eye. A secret garden buried in the depths of our being.
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Brenda PAGE
Gathered 2013
cast glass, fused glass, screen printed and hair
Emilie PATTESON
Quintessence 2012
kiln formed glass, found organic material
I examine methods of collection and preservation of natural objects through fused and hot sculpted glass. This allows me to work with dualities of growth / decay and life / death to convey the beauty in the fleetingness of life.
Wayne PEARSON
Jan Karras 2012
reverse painted glass enamels
Denise PEPPER
Punto in aria (stitches in air) 2012
pate de verre, cast glass
Contemporary connotations of lace collars are many but perhaps their link to tradition is strongest. Often considered luxurious and desirable, lace making was renowned for inventiveness. This work pays homage as an heirloom to lace collar's historical elegance. I have crafted pate de verre lace in which glass frit captures the decoration and detail found in the intricate weave, the is delicate and complex.
Cindy POOLE
Australia's Tree of Life 2012
sandblasted enamels, multiple layered kiln forming, digital imagery
The forces of nature's flora and fauna combine to make up the intrinsic lifeblood of Australia's own 'Tree of Life'.
Sallie PORTNOY
Lying About 2011
kiln cast glass, steel base
Portnoy’s cast glass sculptures investigate and explore the passage of light and time, the subtlety, sensuality and simplicity of the line, and the extraordinary beauty of glass crystal. Her sculptural narratives emerge from a spiritual place where the self is brought to actualization through works that speak of life’s paradoxes, journeys, and rituals created from a considered menagerie of materials and metaphors. This piece is cast from dichroic neodymium glass that changes from musty pink to olive green depending on the light source.
Patrick PRIMEAU
Untitled 2012
glass
Blown glass is, by its nature, a physical performance, a series of precise movements to be executed in a very specific manner and order. Therefore, I think of the process as a true art form just as the finished object can be. The object could then be thought of as a guideline to the choreography. I experience blown glass as a silent exercise of comprehension between artist and material.
Madeline PROWD
Surge 2.1 2011
blown, wheel cut glass
Heavily concerned with the technical proficiency of precision glassblowing, Surge 2.1 utilises the line work and patterns created by traditional Venetian cane techniques to explore the notion of movement and the sensibilities of controlled chaos.
Combining my connection to the materiality of glass and the physical interaction inherent in the process of making, I strive to infuse my practice with the history of blown glass through a rigorous technical approach.
Looking to my immediate surroundings for insight, Surge 2.1 draws from the movement and flow of water. Within the turbulent current of a river, rocks interrupt its course, creating beautiful and chaotic disturbances in the flow.
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Kirstie REA
chAIR 3 – Presence 2012
kiln formed glass and chair
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Gina SCRIVEN
Supernova 2011
high temperature fused glass, sandblasted
Supernovas, I am in awe of their power and form. Matter that goes through such a powerful explosion and its consequences.
Gayle SHAW
Reflections 2012
fused glass, cold worked
Every landscape is more than just a landscape; every river is more than just a river. Landscapes provide strong lines and striking colour combinations. They draw the viewer's eye and mean different things to every viewer's mind.
Anne SORENSON
Titillation 2013
kiln formed glass
This piece is anthropomorphic. This piece was inspired by a drummer, a glimpse of under skirt led to the thoughts of stimulation of the senses through colour and movement.
Tim SHAW
Paradise Contained - Red Earth 2012
blown and carved glass
Tim is thrilled to present this piece Red Earth at the Wagga Wagga Ausglass exhibition. This object shows a continuation of his passionate exploration into a greater subtlety of color palates, creating ever more sensual and evocative objects. The Paradise Contained series is presented in the form of the traditional lidded ginger jar.
This is an addition to Tim’s repertoire that depicts his personal study of landscape and alludes to his love of romantic poetry. Tim’s choice to depict his emotive scenes on vessel-based objects, coupled with his distinctive interpretation of cut glass, creates the perfect blend of traditional and contemporized art glass. His quest to always push the boundaries in glass is epitomized through this exceptional form.
The inclusion of a flying bird motif is symbolic of a free spirit endlessly soaring through the panoramas, both real and imagined, of Tim’s work. Tim invites you enjoy his art as much as he enjoys making it.
Pamela STADUS
Ice Scape Series: Ice Sheet 2011
sand-cast glass
The work uses the shared material qualities of glass, water and ice to express effects of fluidity and being frozen; submerged in a clear transparent depth of glass.
Stephen SKILLITZI
Cullet Jam 2013
glass, fabric, metal / performance
Routinely, glass artists crush glass into cullet for remelting. That humble process creates percussion sounds similar to drums or cymbals. Thus unwittingly we 'glassies' in our studios may unleash rhythmic sounds worthy of integration into an improvised or 'jamming' musical ensemble or duet. Of course at the opening party both the 'glass violin' and the 'glass cullet-making drum' must have their own undisturbed integrity at the sole discretion of their creators, so any spontaneous duet (or 'jam session') would be subject to that principle.
Myra STAFFA
After the fire 2012
fused, slumped and cold worked glass (System 96)
The Australian landscape has long been a source of inspiration to my work.
Philip STOKES
Bubble Lux 2012
blown glass with cloth flex, light globe and dimmer
My latest exploration of illuminated glass brings together sculpture with function. These playful, bubbling and organic forms are inspired by human microbiology and flesh and fluids of the body. The lamp is fitted with the finest contemporary fittings including cloth flex and Italian dimmer switches.
Crystal STUBBS
Character Series: Encompass 2012
hot sculpted solid glass figure, cast lead glass base
Within my work I have focused on creating figurative pieces that are aesthetically coherent. My pieces express varied emotions and moods - the tension of a cramped figure pushing against his structural environment.
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Blanche TILDEN
Empire 1 / Empire 2 2012
water jet cut, flameworked and cold worked borosilicate glass, sterling silver
Glass used in architecture generates a visual language. These 'Empire' necklaces take a glass rectangle and stack this basic shape, evoking images of the glass and concrete towers that make cities all over the world.
Gillian TOMASICH
Se – Faire – Jour 2012
fused and slumped glass
I really wanted to capture the concept of new life emerging.
The French word Se Faire Jour gives voice to this piece as it translates as emerge, dawn, and daylight.
Lienors TORRE
Vivienne screaming 2012
Cast glass, wood and animation
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Emma VARGA
Awaiting spring #3 2013
fused, cast, ground and polished glass
‘Emma has an enduring focus on the small details of colour, pattern and repetition... By abstracting nature and turning the elements into pattern, much as nature does and singling out the details, Emma allows the viewer to focus on the colours, light and pattern.’
(Catalogue for 'Into the Green' exhibition at Sabbia Gallery, foreword by Kylie Johnston, excerpt)
Jan VEROUDEN
The Fire Within 2012
fused, cold worked and etched glass
In 2011 I had my first real instruction in art glass. Prior to this I had just been playing around on my own. Those first days were the turning point for me. I was truly blown away by the possibilities, the techniques, the different effects, and the simplicity in some cases, to create a really beautiful piece of artwork from glass.
This piece represents the fire that has been ignited in me, to keep pushing myself to try and achieve the best result with each new piece I make. I love this form of glass art, and hope this piece helps others view it with the same passion.
Brondwyn VIVIAN
Coelopleurus Granulatus (glass coloured urchin) 2011
sterling silver – CAD built, printed and cast; glass cores fused, drilled,kiln softened inset into the silver urchin housing
When I created this piece, I was looking at the urchin form and how the spines can be beautiful but deadly. I wanted to represent the form of the urchin in rich silver and the beauty of the ocean with the rich colour of the deadly spines that protrude.
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Sunny Wang
Suchness - Ease 2011
hot-formed
Lorry WEDDING-MARCHIORO
Looking, not seeing 2012
glass painted with enamels, slump cast, carved wood
Atoms oscillating / quarks colliding / frequency pitch / reality shifts.
Bethany WHEELER
Procedural memory - glass cutter 2012
cast glass, found glass, laminated glass, metal glass cutter
Within each handmade process the development of procedural memory is unique. This work captures and preserves the micro-movements of the body in conjunction with the hand tool, whilst in the action of glass specific making.
John WHITE
Observable 89 2012
sculpted hot glass, cold worked and glued
My themes explore larger scale industrially manufactured elements, isolating and abstracting functional components of machinery and tools, the idea being to subvert these elements and draw attention to the importance of the handmade within an industrialised society.
At the heart of my interest is the value of craft based practices, the handmade, and the role of the maker in our society. I am able to fulfil my expression of the handmade and craftsmanship through the translation of making, the discovery of new processes, and the deconstruction and reconstruction of elements through sculpted hot glass. I am hoping to impart a sense of the values craft and craftsmanship bring to our modern society, which are often overwhelmed by mass production.
Ruth WHITE
Take Heart 2012
hand blown and carved glass
Take Heart portrays the tender beauty of our most valuable organ and the transformative powers of courage and hope with which it enables us to grow through life challenges. I explore the timelessness and universality of human experience in my work, illustrating those things which exist on the periphery of our perception.
Melinda WILLIS
Resonance I 2012
UV-cured inkjet print on distressed mirror, kiln formed and cold worked glass
By concentrating on what we see when we look at something, and how we see it, we draw our attention to the phenomena of reflections. Resonance I investigates the optic properties of sheet glass as a fascinating conceptual material through its’ ability to compress, reflect and reinterpret space. Glass is the subject of and means of expression in this artwork, to highlight the presence and qualities of this unique, ubiquitous material in the environment around us.
Zoe WOODS
Microcosm Series: Blue 2012
blown glass with closed bubble graal technique, wheel cut
Microcosm Series: Blue utilises the distortive and reflective qualities of thick blown glass to encapsulate a pattern of microscopic symmetry on an internal floating bubble. These pieces represent an investigation into the ability for the material object to elicit the same feeling of wonder that is experienced when looking through a microscope len.
