Fused: a journey from artists in the National Art Glass Collection

• Peter Tysoe Tholoi 1995, hot formed, blown and cold worked

Cultural Background
Father of Viking origin from Hardangerfiord, Norway, Mother of Irish origin

Place of Origin
Totnes, Devon United Kingdom

Start of Migration Journey
London UK [by air] June 1985

Place of Arrival in Australia
Adelaide, South Australia - June 1985

First Home in Australia
Maylands, Adelaide - South Australia

First job in Australia
1985 – 94 Head of Glass, Jam Factory Craft and Design Centre, South Australia

Other Jobs in Australia
1994-96 Lecturer [part time] University of South Australia Dept of Ceramics & Glass

Any glass related objects that were brought over?
I brought a collection of blown/sculptural glass with me

Peter's story

The surname Tysoe is of Viking origin my ancestors came in longboats from Hardangerfiord, Norway, around AD 800. My mothers' maiden name is Tomlins who apparently came from Ireland in the 18th century. I was a child in WWII and although financially poor, my parents were great readers and introduced me to books and encouraged my talents, such as they were, in the arts.
At the age of 13 I was selected as a pupil at Oxford Secondary Technical School and placed in the "Art stream" which was in the same building complex as the School of Art and I attended some of the classes. I became a full art student at 18 yrs of age and a 4 yr course led to study at Goldsmiths School of Art 1956/57.
Prior to arriving in Australia I ran my own sculpture studios at Newton Abbot (1963), Dartington (1965) and Totnes (1979) all in Devon. During that time I did courses at the London Glasshouse with Steven Newell and Brierly Hill Glass Centre, West Midlands UK. I also worked with Dartington Glass Co to produce the cast/blown glass pieces for my commissions.
My initial contact with Australia was as a UK Churchill Fellow, Australian artists working in ceramics and glass while visiting the UK used me as a contact. Rex Keogh - Melbourne, Stephen Skillitzi - Adelaide, Peter Travis and Vic Greenaway – NSW were all artists I met during that period. I met Maureen Cahill, then a student, at Brierly Hill and a conference at the RCA in London. I visited Klaus Moje at his studio near Hamburg. I knew the late Stephen Procter as a fellow member of the Devon Guild and introduced Stephen and his work to Peter Rath of Lobmeyer, Vienna. This started his interest in hot glass. He later migrated to Australia.
I always felt drawn to Australia; my father had nearly emigrated as a young man. I have three sons, one of whom immigrated with us at the age of 18. The impetus to reply to the advertisement for the post at The Jam Factory, Centre for Craft and Design in Adelaide South Australia, was the advent of the Thatcher Government in the UK.
I was appointed Head of the Glass Workshop at the Jam Factory Centre for Craft and Design, Adelaide in 1985 and remained in that position until 1994. After I left the Jam Factory I ran my own independent studio at Campbelltown in SA producing commission and individual work until 2000 and during 1994-96 I lectured, part time, at the University of South Australia in the Department of Ceramics and Glass.
During my time in Australia I worked and had associations with a number of local artists, including Ian Mowbray, Vicki Torr, Lynn Collins, Gerry King, Stephen Skillitzi, Stephen Bowers, Peter Andersson, Ian White, Cedar Prest, Nick Mount, Maureen Cahill & students at Jam Factory. Among my memories of Australia are the light and heat of Adelaide and the South Australian landscape.
By 2000 I had reached the age of 65 and our 3 sons and their partners were living in UK. The arrival of grandchildren caused my partner, Pat, and myself, to make the reluctant decision to return to England to live, in order to be a part of their lives. But we do hope to return whenever possible to see our many friends.