I decided to contribute by creating glass objects to raise awareness. My research trip to Antarctica in December 2012 resulted in over 10,000 digital images of icebergs, glaciers, ice and snow surfaces..
I was completely mesmerised by the beauty and serenity of the frozen continent. Glass works in this exhibition are created to celebrate the beauty of Antarctica and feature visuals that impressed and inspired me the most; a vast variety of ice surfaces, turquoise and blue shining from the depth of ice through translucent white surface; clarity of ocean revealing submerged parts of icebergs; a rare appearance of sky crystals…
Technique: Along with multiple layers of fusing casting, which I developed over the past 15 years, a new method was added to resemble of ice surfaces; pâté de verre, in combination with sheet glass and cast objects.
It was a research project on glass blowing in his final year of high school that began Andrew’s fascination with glassmaking. Cementing his career path, it provided the perfect medium through which to express his philosophical outlook and subsequent studies in Buddhism and mediation; two themes preeminent in his current work.
Following the completion of a Bachelor of Arts in Ceramics and Glass at the University of South Australia in 1999, Andrew undertook Honours at the Canberra School of Art where he found a mentor in Stephan Proctor, head of the Glass workshop at the Australian National University. Stephan’s teachings resonated with Andrew and instilled in him the need to create work that is both carefully crafted and also endowed with meaning.
From 2001 to 2002 Andrew undertook the Associate Program at Adelaide’s JamFactory where he learned production glassblowing and pursued advanced techniques. It was during this time that he trained with renowned glassmakers, such as Dante Marioni and Hiroshi Yamano, and received a scholarship to study at the prestigious Pilchuck Glass School in Washington, US.
In 2006 he was artist-in-residence for six weeks at Toyama Glass Studio in Japan, which resulted in two significant solo exhibitions. His most recent residency was at the Canberra Glassworks in 2013. He has been invited to participate in numerous exhibitions both nationally and internationally and this year marks his seventh time as a finalist in the prestigious Ranamok Glass Prize.
Andrew is currently based in Adelaide and works from a home studio and at JamFactory Contemporary Craft and Design. The practice of meditation and retreat, continue to inspire him artistically. His work is held in both private and public collections.
My work is a reflection on nature and life cycles, a consideration of mortality. It provides a chance to pause and really look, to appreciate the objects that surround us in the natural world. I hope to provide an opportunity for one to realise that life is beautiful, fragile and precious.
I examine methods of collection and preservation of natural objects in 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.
My Cinder series allows me to focus on the beautiful forms that nature creates in new growth and wilting decay. The delicate layer of ash on the surface of the glass captures perfectly my feelings of preciousness towards the ephemeral pieces I collect.
Emilie Patteson is an emerging glass artist and illustrator. Originally from Orange, NSW, She moved to Canberra to study glass at Australian National University. She completed her Honours Degree last year, and now works from a studio at Canberra Glassworks.
Her work has been exhibited in Canberra, Adelaide, throughout NSW, and currently in the Czech Republic as part of the Stanislav Libensky Award for recent graduates in glass.
My work is inspired by an interest in form and colour, and an exploration of line. I have a reductive approach to details and create simple elements which remind the viewer of their own memories. Through the use of shapes and colours, I like to find the softness in sharpness and to capture the moment when people feel something beautiful.
Kumiko Nakajima grew up in Japan and graduated with a Bachelor in Art Planning (Curating) from Osaka University of Arts, Japan. After completing her studies in 2003, she moved to Fukui to learn glass blowing techniques at Ezra Glass Studio. Kumiko visited JamFactory in Adelaide on a working holiday in 2005 and was inspired by the glass scene she found here.
On her return, to undertake the two-year Associate program in 2007, Kumiko met her future husband, wood and furniture designer, John Quan. The two now collaborate under the name Mono, bringing together the contrasting qualities of their media in objects that embody their passion for art, craft and design. Kumiko is fascinated by the purity of glass as a medium.
Inspired by both the natural world and the transitory nature of the urban experience, Cahill’s dreamlike images allow viewers to draw associations with their own remembered landscapes, resulting in a meditative and emotional response. Having spent many years living and travelling the world, much of this time spent in Denmark, her mother’s homeland, Cahill’s kiln formed glass connects structures of urban architecture, the associations and memories they invoke, and her innate respect for the natural landscape. Rather than a direct reproduction they are more her own interpretation of light and landscape and become a place for quiet contemplation.
Lisa Cahill’s jewellery is an extension of her art practice. They are miniature landscapes which mimic her larger kilnformed wall and sculptural works.
After completing a BA in Applied Arts with First Class Honours at Monash University in 2000 Cahill has been awarded numerous grants and prizes including Australia Council for the Arts New Work Grants in 2002, 2007 and 2010 and the Bullseye By Design Award in 2001. She has established several artist group studios and now works from an established glass studio in Pialligo since moving to Canberra in 2011.
Lisa has had numerous artist residencies including the Canberra Glassworks, Northlands Creative Glass in Scotland and Bullseye Glass Company in Portland Oregon, USA. Exhibiting regularly nationally and internationally, she has been represented by David Richard Gallery, Sante Fe for the past 4 years at the prestigious Art fair SOFA Chicago. She has always been active in the glass community and has previously held positions on the Ausglass board including newsletter editor and Vice President.
Her work can be found in The National Art Glass Collection, Wagga Wagga Regional Art Gallery, NSW, The Ebeltoft Glass Museum, Denmark, the Northlands Creative Glass Collection, Lybster, Scotland, and Kaplan/Ostergaard Glass Collection, Palm Springs Art Museum, Palm Springs California, USA.
Received: imessage – number unknown
Shhhhh, don’t tell anyone. Meet me under the street-light. Have you heard about the espionage? The backroom deals, the clandestine meetings, the yes men? Perhaps you need a disguise? Please be careful – they are everywhere, operating for ‘the good of the party’. #Facelessmen
In this body of work, mikki presents the glass of everyday, the glass we treasure without really acknowledging its presence, the glass we take for granted.
Glass is everywhere: the glass in your first pair of spectacles, the phone and the tablet our fingers slide across everyday. The glass on our lips as we drink, to the storage container we shake to add spice to our meal (lives). The discarded wine and beer bottles rescued and repurposed, the whiskey glasses now in disguise for that next meeting in the boardroom.
Mikki has always used humour to engage the viewer. Her work has ranged from funky goblets, designed to liven up boring dinner conversation, to large-scale pieces in blown glass commenting on man’s mistreatment and dominion over the animal kingdom. Mikki incorporates metal – cages, metal trophy plaques and fish hooks – to create an atmosphere, an environment, a frame for her hand blown glass objects so carefully crafted. In this body of work the glass is mass- produced and the metal is precious, sterling silver sits alongside glass; enameled, industrial and fragmented.
While this work is still functional, it now exists in a different decorative space, moved from the intimacy and anonymity of the home, to the corporate boardroom. Moved from shelf and dining table to the person: the wearer inviting them and their circle to enter the conversation.
Mikki is represented by Bilk Gallery, ACT.
Today it seems I have always been playing with glass, melting, shaping colouring and then blowing. Starting out as a kid during school holidays working in a family glass business earning some pocket money, then leaving school and being full time in the family business as a scientific glassblower, eventually running the place.
I have tried all areas in glass, leadlight, fusing and slumping, crystal cutting and engraving and of course 15 years building and making glass from a furnace.
However I came back to my roots nearly 30 years ago with lampwork to concentrate on taking skills I had learnt in other areas, using them to design and make glassware using lampwork as my preferred way of working.
I still just love working with glass, it continues to challenge me every day and excites me when I make my work, to see the results appear like magic in front of me has to be the best.
From a lifetime working in glass, one of the most satisfying feelings has been the teaching: to see students understand how to lampwork, make their creations from their ideas, is a joy.
These pieces utilise the optical qualities of glass, with its ability to bend light, to stretch, magnify or reflect an abstracted image, and the feeling of wonder that can be enticed. The work has been informed by historical scientific illustrations, contemporary glass exploring microscopic form, ‘Op art’, and the potential for optical illusion to evoke a feeling of wonder. With a particular focus on microscopic pattern, the pieces provoke the same feeling of discovery and fascination that is felt upon looking at nature through a microscope lens.
My work explores natural patterns and textures applied to thick, clear blown glass. I am fascinated with the ability of glass to bend, reflect and distort light, and hope that by representing organic imagery in this way, the work may invoke a renewed contemplation of the natural world.
Zoë Woods is an Adelaide based glass artist who explores the human connection to nature through abstracted organic pattern.
Woods completed a Bachelor of Visual Arts with first class honours from SASA in Adelaide in 2011, and in 2012 her Honours work was selected for Hatched, the national graduate show at the Perth Institute of Contemporary Art. Also in 2012 participated in a summer course at Corning Museum of Glass in New York, received First Prize in the Waterhouse Youth Art Prize, and was awarded an Australia Council ArtStart Grant.
Through heavy studio based experimentation Woods investigates the optical qualities of glass, with its ability to bend light, to stretch, magnify or reflect an abstracted image, and the feeling of wonder that can be enticed.