RANAMOK GLASS PRIZE 2006 Underwriter of the 2006 Ranamok Glass Prize
JOHARKO INTERNATIONAL
Coal Preparation and Handling Services
RANAMOK GLASS PRIZE SPONSORS 2006 v
Contents
The Ranamok Glass Prize 2006 2 Miki Kubo 52 Reflecting on Ranamok 3 Ruth McCallum-Howell 54 Nudibranch Art Glass: Finalists Laurie Young and Tricia Allen 6 Christian Arnold 56 Nicole Ayliffe 8 Wayne Pearson 58 Andrew Baldwin 10 Denise Pepper 60 Annette Blair 12 Rachel Ravenscroft 62 Ayelet Brooks 14 Matthew Ryan 64 Christine Cathie 16 Morgan Shimeld 66 Richard Clements 18 Carmen Simmonds 68 Cobi Cockburn 20 John Skinner 70 Zara Collins 22 Crystal Stubbs 72 Hilary Crawford 24 Mark Thiele 74 Estelle Dean 26 Zoja Trofimiuk 76 Marcus Dillon 28 Emma Varga 78 Hamish Dunlop 30 Janice Vitkovsky 80 Evelyn Dunstan 32 Bethany Wheeler 82 Craig Ellis 34 Richard Whiteley 84 Tegan Empson 36 Robert Wynne 86 Wendy Fairclough 38 Finalists’ Biographies 88 David Hay 40 Glossary of Glass Terms 98 Derise Hemmes 42 Ede Horton 44 The Judges 100 Robyn Irwin 46 Ranamok 2006 Tour Dates 101 Nigel Jones 48 Acknowledgements 101 Sue Kesteven 50 The Ranamok Glass Prize 2006
Ranamok has touched a lot of lives. The annual exhibition gives artists a vehicle to show the world what they are doing and the catalogue forms a permanent record that ‘keeps on giving’ year after year. I also know from first hand experience that, because of Ranamok, many people now take an active interest in the glass scene; buying, collecting and following the careers of artists who they’ve taken a shine to. Glass inspires that sort of passion… I’ve seen more than a few hard-bitten mining types, who you’d not naturally expect to see in any sort of gallery, enthusing about technique and form and spending big money on pieces that complement their growing collections. Ranamok continues to grow in stature and authority thanks to the efforts of many people. Obviously, the exhibition wouldn’t happen without the artists. However, the people who administer the Prize and create the catalogue each year are just as important… without their efforts as cheerful (most of the time) volunteers, there would be no Ranamok. Our financial sponsors form the third leg of the stool. As with most things in life, it costs money to do things properly, so without the sponsors’ enthusiastic financial support, none of this would be possible. As my immediate responsibility with Ranamok is raising the money, I would like to use the rest of my allotted space to acknowledge and thank the people behind the organisations noted on the frontispiece and, in particular, my colleagues at Excel Coal, who have shared the passion for glass since the Prize was started in 1995. All of these people have helped to make a major and disproportionate impact on the contemporary glass scene in Australia and New Zealand, showing that effective arts philanthropy doesn’t necessarily have to come with a big price tag. So, thanks to all… you’ve made a difference. I’m proud of what we’ve created and you should be too. Andy Plummer
Once again, a surge of creativity as emerging and established artists respond to the call of Ranamok. Welcome, to our ever increasing audience and many thanks to our growing number of volunteers, artists, sponsors, administrators and judges who contribute towards Ranamok’s success. Maureen Cahill Glass Artists’ Gallery Co-founder, Ranamok
Reflecting on Ranamok
...Glass is liquid, sleeping. pieces of art glass, was made. A 1st Century A mirror to the future – The line you make goes through the sheet AD Roman cameo glass vase, it has served 2006 Ranamok Prize like a wave through water, or a voice calling as an inspiration for glass makers since the In 2006 the Prize attracted a record number in a dream, but calling only once. 18th century to the present day. of 113 artists. Of these, 41 artists have been If the glazier knows how to work without Until the 12th Century stained glass was selected for the 2006 tour. hesitation, glass begins to remember...1 not widely used and only reached its full Artists included come from every state and Sand, soda, lime, heat and the glass artist’s flowering during the Late Gothic and territory of Australia (excluding NT and creative imagination are the essential elements Middle Ages in cathedrals such as Chartres QLD) as well as New Zealand. The exhibition needed to make works of art in glass. and Notre Dame. provides an up to date survey highlighting the The Ranamok Glass Prize, now in its 12th The 14th Century saw Venice assume its robust and healthy nature of contemporary year continues to celebrate this last critical role as the glassmaking centre of the glass art in the Antipodes. element; the glass artist’s creative imagination. Western world and the island of Murano The technical virtuosity demonstrated by lucratively exported its unique dinner The genesis of Ranamok represents the all works in this year’s Ranamok Prize continues ware, mirrors and luxury items to an ever too infrequent co-operation between big to be of a high order and the Prize celebrates demanding and status conscious world. business and the visual arts. The meeting of the ability of today’s glass artists to push the two visionary minds, glass artist and gallery The resurgence of high quality art glass boundaries of their chosen medium. director, Maureen Cahill and Executive in the 19th and early 20th Centuries is The exhibition includes established artists Director of Excel Coal Ltd, Andy Plummer inextricably linked with the names of such as Richard Whiteley, Wendy Fairclough, has resulted in an enduring celebration of Baccarat, William Morris, René Lalique Mark Thiele, Richard Clements and the beauty of glass making and the and Louis Comfort Tiffany. Robert Wynne as well as up and coming extraordinary skill of glass artists. However the history of early 20th Century artists such as Matthew Ryan and Zara Collins. Glass is an amorphous solid material which glass is also about the democratisation of The 49 works in the exhibition also becomes molten at high temperature. It can the glass object through the advent of mass encompass a wide range of age-old and be made into almost any shape. It can be production. In 1908 Carnival Glass made modern techniques. transparent or opaque, clear or coloured and its auspicious appearance, dubbed ‘poor can reflect as well as refract light. It is an enigma. man’s Tiffany’; it bought for the first time Until recently glass artists tended to specialise affordable decorative art glass to the masses. in one technique e.g. kiln formed, cast or A mirror reflected – blown. The artists in the 2006 Ranamok Since 1945 many countries have been an incomplete history of glass Prize confound this expectation and clearly involved in the development of what demonstrate their mastery and ability to The history of man-made glass stretches is now called the modern glass art successfully incorporate many and varied back over 5,500 years. movement including Finland, Sweden, techniques in their work. The earliest glass objects found by Italy, Czechoslovakia, the United States and Similarly their work is inspired by a myriad of archaeologists are glass beads from more recently Australia and New Zealand. sources including landscape and architecture, Mesopotamia dated to 3500 BC, whereas Important names associated with this political and social issues, literature and the advent of glass blowing occurred in development include Lino Tagliapetra, folk tales and fine art movements such as the Sidon-Babylon area some time Kaj Franck, Tapio Wirkkala, Dale Chihuly, surrealism, abstraction and pop. between 27 BC and 14 AD. Klaus Moje and Bertil Vallien, though many more names could and deserve to Clear glass was first made in Alexandria Reflected glory – be mentioned. about 100 BC and had become by 100 AD some works in the 2006 Prize This is the briefest of histories of this an essential architectural element for the Ede Horton with Big Red brings together amazing material; even more amazing windows of any luxury Pompeian villa. two age old techniques, kiln formed glass is that its basic elements are only sand, Alexandria was also where the Portland and decorative flocking. This unusual soda, lime and heat. Vase, one of the earliest and most famous combination results in an astonishingly Reflecting on Ranamok (continued) large decorative button, similar to Cinderella story to the contemporary world and the symbol of Horus and the gods, Claes Oldenberg’s blown up pop sculptures. of rave parties, text messaging, stiletto flip Vishnu, Brahma, and Lakshmi, the flower is Horton imbues the ordinary object with a flops and the Big Brother household of also a part of Buddhist philosophy with the fine art status. vapid beauty. flower’s unfolding petals at sunrise equating to the unfolding of wisdom from the Buddha. Zara Collins, also known as a fine art jeweller, Tegan Empson’s deadpan Bared Bunny Wynne draws on the perfect geometry of has an abiding interest in all things oriental, and Long-eared Lagomorph are reminiscent of nature and the passage of light to suggest in her beautiful Pillowbook Series. Classic erotic some post modern Cycladic fertility figures, the symbolic emanation of wisdom from Chinese images, drawn effortlessly in copper part self portrait and part contemporary this wire, float in a sea of glass, performing their idol/worry dolls, the defenceless and utterly most beautiful of flowers. sexual gymnastics for eternity. cute rabbits look singularly nonplussed at New Zealand sits on the edge of two tectonic being raised to cult status. plates, the Pacific and the Indian/Australian. Oriental influences also inform This has resulted in a volcanic and thermal internationally acclaimed Richard Whiteley’s Wayne Pearson’s Madame Ginoux Remembers landscape of great beauty and danger. Two Naka Aoi. The restrained elegance of the Beach takes Van Gogh’s famous Arles artists have drawn on these seismic activities Whiteley’s work uses translucency and portrait of L’Arlesienne (1888) and ironically to inform their abstract works. the passage of light to suggest through places her on a brightly lit Australian abstraction the delicate folds of the Japanese beach. Pearson plays with the idea of how Robyn Irwin’s Snowmelt – foothills made of cast kimono, the most beautiful of national iconic images can reverberate in different lead crystal abstracts the elements of snow, dresses. Whitelely says: ‘I have been working landscapes and cultural environments. rock and soil in the volatile New Zealand in glass for over twenty years and two landscape to create her ‘painted’ vessels. Family social history underpins Derise Hemmes elements I consistently investigate are the My Mother’s Cataract, through her skilful Rachel Ravenscroft’s kiln formed Loop ability of glass to capture, focus and transmit combination of various techniques and moves in one large continuous circular light and the dynamic relationships between materials including float glass, lamination, shape suggestive of the enormous tectonic architectural space, form and colour.’ etching and commercial lenses, she creates forces which have effortlessly bent the Recent political events provided the genesis of a moving homage to her mother’s visual New Zealand landscape. works by Wendy Fairclough d Tricia Allen. impairment by drawing on elements an It is interesting to compare the tension characteristic of glass: distortion, reflection Wendy Fairclough’s Leaving uses hand blown contained in Ravenscroft’s work with and deflection. glass, sandblasting, engraving and enamel Cobi Cockburn’s Shifting Fields. Cockburn paint to make an understated but moving Nicolle Ayliffe’s Optical Landscape (Field) is inspired by a love of the Australian commentary on the Australian Government’s and Optical Landscape (Dune) also uses the landscape, a much older and more stable immigration policies. Each of her six beakers distorting qualities of glass to reinforce continent and her love of fibre. Here the stands alone imprinted with the landscape the illusion of real and emotional depth in low slung work recalls the plains of waving being left behind. her photographic landscapes. The optical grass in the Canberra area. moiré effect caused by the thickened edge Tricia Allen’s The Great Protector Fucks On also Mark Thiele also deals with the Australian of the glass adds great beauty to her work makes a strong political message with her landscape, his hand blown Earth Matters and appearing to cause the grass and sand to satiric blown glass condom. The Stars and Desert Shades draw on the primary colours of ripple as if caught by the wind. Stripes prophylactic now flaccid and spent the Australian outback, the oranges, ochres, of force hangs uselessly, a monument to Landscape and nature and the symbolism reds and browns. The abstract sculptures are recent US foreign policy or the latest in associated with them are also the basis for inspired by geological rock formations, native patriotic birth control. many other works in the exhibition. flora and the ant hills that pepper the ancient Australian continent’s landscape. Humour and cultural appropriation are also Robert Wynne’s Lotus pod extracts the to the forefront in a number of other works. essence of this most spiritual of water Marcus Dillon deals in a more abstract way flowers. Long revered in Egyptian and Hindu with nature in his blown and wheel cut Craig Ellis’ slick and fashionable cast glass creation mythology as the essence of beauty sculpture Amalgamation. This abstract work Rave Shoe updates the Charles Perrault
of great physical complexity is suggestive of and chaotic prisons. Skinner’s elegant perfectly contained, one leg extended pushes the dynamism and movement inherent in the and restrained sculpture is composed of against the side of the bowl ready to make scientific forces which determine how nature two materials extensively used in current his getaway. and our existence are formed. architectural practice glass and polished Evelyn Dunstan’s Ngahuru Haerenga (Autumn concrete. Inherent in Skinner’s work is the The patterns underpinning nature are an Passage) and Southern Solitude – Kotuku captures contrast between Le Corbusier’s utilitarian important element in Matthew Ryan’s work. the movement inherent in nature in her machine for living in and Marcel Duchamp’s His Milk and Honey object of Swedish overlay New Zealand landscapes. Her work is a lost subversive machines of desire as portrayed and murrini slumped and cold worked glass wax, kiln cast piece of Gaffer crystal which in The Bride Stripped Bare recalls a microscopic image of a leaf blown up his work on glass is then cold worked, engraved, acid-etched by Her Bachelors, Even to show its cellular structure. Ryan also uses (1915-1923). and hand polished. It creates a work of the properties of transparency and opacity 20th Century Modernist architecture also great technical complexity and beauty. and the passage of light to create a depth informs Morgan Shimeld’s two sculptures Dissimilar to the work of her compatriots of field in this delicately balanced work. Pillar and Arch made from glass, bronze Irwin and Ravenscroft who deal with seismic and concrete. These brutalist works could forces, Dunstan’s work is about capturing Pattern and networks underpin be maquettes for ‘machines to live in’ movement, beauty and the stillness of Hilary Crawford’s work which is concerned which would sit quite comfortably with ture in a single moment. Her nest with the interlocking structural units that na Danish architect, Von Spreckelsen’s La building bird hovers for all eternity. make up our urban environment. Blackout 4/5 Grande Arche de la Defense in Paris. is the fifth work in an ongoing series made Christine Cathie’s cast lead crystal Ribbon after power failures in the places where she The Ranamok Glass Prize is a good also deals with movement and catches has lived, first Canberra and now Adelaide. barometer of what techniques are being that moment when a dropped ribbon hits The murrini rods are laid out and represent used in contemporary glass. and starts to settle on the floor. Like a late in an abstract way the power and street 19th Century stop gap photograph by Ten years ago pâte de verre would have grids of city life. The work is then blown Edouard Muybridge, Cathie records the barely rated a mention in contemporary to ribbon’s subtle twisting and allows us to see become a distorted three dimensional practice. Dating back to ancient Egypt, this beauty in movement not usually observable object of the urban landscape. warm glass technique, was revived late last to the human eye. New Zealand based Nigel Jones presents century in France, and has made a comeback us with a psychological landscape of great in recent times. It is this moment of beauty to which all Coupling delicacy. In o blown twglass and The 2006 Prize includes three excellent artists strive and it is in glass that most hand etched bowls ‘map an intimate extraordinary of materials that an artist’s examples of pâte de verre: Estelle Dean’s connection’. As if in silent conversation, vision can be preserved inviolate to the abstract Moments of Tension, Denise Pepper’s one bowl leans forward to touch while the declining force of time. highly decorative and exotic Wallflower No 3 other withdraws inwards. This small work and Christian Arnold and Laurie Young’s charts the aesthetics of stillness and is I would bid them live whimsical underwater fantasies Dragon Pearl as emotionally rich a work as one by As roses might, in magic amber laid, and Galapogoddess. Giorgio Morandi or Gwyn Hanssen Piggott. Red overwrought with orange and all made Much older history informs the glass vases One substance and one colour In Machine for living in, John Skinner quotes 2 of Miki Kubo and Evelyn Dunstan. One Braving time. from the most influential architect of the can look back as far as the Portland Vase in 20th Century, Le Corbusier, who wrote in his Richard Perram the British Museum for an antecedent to 1923 treatise Vers Une Architecture Director , ‘A house their work. is a machine for living in.’ Le Corbusier was Bathurst Regional Art Gallery convinced that a rationally planned city, Miki Kubo’s Frog Bowl (Olive Green) and Frog July 2006 using standardised housing types could offer Bowl (Teal) made from engraved and cut a healthy and more humane alternative to blown glass are both exquisite observations 19th Century cities which he saw as dark of nature. Her large olive green frog is
1 From Cutting Glass © 1987 Jared Carter. All rights reserved. From Yarrow 1987. Reprinted by permission of the author 2 From Envoi from Hugh Selwyn Mauberley y1920 b Ezra Pound Tricia Allen Lakes Entrance, VIC
The Great Protector Fucks On Inaction is a weapon of mass Blown glass destruction. This sentiment inspired me to make an anti-war statement 39 H x 11.5 W x 11.5 D cm in glass. The battle scarred condom sporting the stars and stripes is representative of a country fucking with the world for its own satisfaction, claiming to be doing so in the name of protection.
Photographer: Daniel Jenkins
Nicole Ayliffe Kensington, SA
Optical Landscape (Field) This series of work has been Hot blown glass and gel inspired by the optical qualities medium photographic image of glass. The thickness of the form gives the illusion of space, and 16 H x 23 W x 6.5 D cm alludes to the idea of an optical lens. The ability of glass to work Optical Landscape (Dune) together with light enhances the Hot blown glass and gel photographic image, which can medium photographic image be viewed through the glass form.
21 H x 18 W x 7 D cm
Photographer: Michal Kluvanek
Andrew Baldwin Mile End, SA
The Space Between While working in Japan I became Blown glass, cold joined, wheel cut fascinated with use of detail as a significant means of expression. 100 H x 40 W x 15 D cm In this new body of work the details are the central storytelling element. The simplicity of the piece allows each angle and point to play a role in the conversation between forms.
10 Photographer: Grant Hancock
Annette Blair Westbourne Park, SA
Collection of Comforts #2 The Collection of Comforts series Blown glass, enamel is inspired by the pleasures and treasures of a simple life. 52 H x 30 W x 18 D cm
12 Photographer: Hilary Crawford
Ayelet Brooks Seabrook, VIC
Roy and I This is a dual portrait of my Kiln fusing, sandblasting, fire polish husband Roy and me. Combined in one panel but still clearly 30.2 H x 41.6 W x 1.2 D cm separated by the black frame, this work attempts to capture the individualism in a relationship whilst also portraying the characteristics in common.
14 Photographer: Dr. Ronald Sweet
Christine Cathie Herne Bay, Auckland, New Zealand
Ribbon A ribbon of glass, curving and Cast lead crystal re-shaping, as though it has been dropped from a height, 33 H x 50 W x 17 D cm and before it settles.
16 Photographer: Geoff Hedley
Richard Clements Franklin, TAS
A Resting Eye I make all my own colours using Flamework gold and silver metal oxides and rare earth. This piece is flame 9.5 H x 8.5 W x 8 D cm worked and is inspired by random thoughts.
18 Photographer: Mike Peters
Cobi Cockburn Queanbeyan, NSW
Shifting Fields Shifting Fields landmarks a new Bullseye roll up cane, fused, direction within my work. In slumped, hot formed and developing this cradling form cold worked glass I have carefully considered and blended my interest in 16.5 H x 92 W x 12.3 D cm fibres, my love for the natural Australian landscape and my growth as a young mother and artist.
20 Photographer: Greg Piper Imaging Solutions
Zara Collins East Sydney, NSW
Pillowbook Series Forbidden Chinese erotic Copper wire fused in glass drawings sourced from the 16th century are appropriated 27 H x 30 W x 2.5 D cm into continuous strands of fine each (Triptych: 3 panels) copper wire and fused into intimate transparent windows.
The original drawings on the Art of Love were suppressed by the ruling Dynasty. Frozen in time like the bubbles around them, these evocative drawings await a new audience.
22 Photographer: Andrew Frolows
Hilary Crawford Stepney, SA
Blackout 4/5 ‘When systems fail we become Blown murrini form, machine temporarily conscious of the ground, hand buffed extraordinary force and power of design, and the effects that it 19 H x 17 W x 17 D cm (piece 1) generates.’1 A Blackout ‘… provides 18 H x 16 W x 16 D cm (piece 2) a brief moment of awareness of real life, what is actually happening, and our dependence on the underlying systems of design.’1
1 Bruce Mau, with Jennifer Leonard and the Institute Without Boundaries. Massive Change. Phaidon Press Limited, 2004.
24 Photographer: Hilary Crawford
Estelle Dean Kingsley, WA
Moments of Tension My glass works are used as a Pâte de verre and hot formed metaphor for interaction and (with murrini) relationships. Each individual reacts with the community, to 10 H x 20 W x 20 D cm fold and flow in conversation, (3 in group, approx. size each) debate and resolve. Creating my forms in a hot shop rather than the conventional mould making methods is an exciting departure from classical customs of working with the pâte de verre method.
26 Photographer: Adrian Lambert
Marcus Dillon Malvern East, VIC
Amalgamation These objects are intended to Blown glass, wheel cut, disclose the forces within nature fabricated metal – its physics, mechanics and chemistry. Within the work, the 43 H x 40 W x 37 D cm circle, in all its manifestations – turning, curved, concentric and subdivided – reflects a sense of growth and evolution. Form in motion: stationary, but not static.
28 Photographer: Marcus Dillon
Hamish Dunlop Erskineville, NSW
Netted in the River of Time Series: Our existence in the net of CMYK time shapes us. When the net Handcrafted cast glass scales, dissolves only the flutter of fishing nylon, fired on enamel our scales remain – memories 66 H x 37 W x 22 D cm of us captured in the physical world. Our scales are the colours of our time. The colour palate of our time is CMYK.
30 Photographer: Hamish Dunlop
Evelyn Dunstan Manukau City, Auckland, New Zealand
Ngahura Haerenga (Autumn Passage) The constant of our landscape, the Kotare (Kingfisher) slow ebb of daily change, mood and Lost wax kiln cast Gaffer crystal, light, and a split second glimpse of cold worked, engraved and life as it flashes by. acid etched
33 H x 40 W x 11 D cm
Southern Solitude To take the time to stop and (Runga Mokemoketanga) reflect on our lives and where Kotuku (White Heron) it is leading us. Lost wax kiln cast Gaffer crystal, cold worked, engraved and acid etched
33 H x 40 W x 10 D cm
32 Photographer: Annuskha Dunstan
Craig Ellis Birkenhead, Auckland, New Zealand
Rave Shoe Last weekend I met this girl. She Cast glass was modern and she was beautiful. She said call me ‘Cindy’ for short. 6.5 H x 8.5 W x 22 D cm We laughed and danced half the night away. Then she left. I lost her number, she dropped her shoe. If you see her please let me know.
34 Photographer: Paul Vahry
Tegan Empson Brompton, SA
Bared Bunny Part portrait, part modern day idol, Blown and solid glass components part worry doll? (head cold joined to body) Continuing my research into ancient 42 H x 17 W x 13 D cm and modern day manifestations of the human and animal form, these works are to some degree, Long-eared Lagomorph portrayals of my own ‘sense of Blown and solid glass components self’ – explored within the visual (head cold joined to body) influences of contemporary media 47 H x 17 W x 13 D cm and culture.
36 Photographer: Tegan Empson
Wendy Fairclough Bridgewater, SA
Leaving My work in glass arises from an Hand blown glass, sandblasting, ongoing exploration of human engraving and enamel paint experiences of sanctuary, home, land and belonging. In response to 35 H x 78 W x 15 D cm government policies surrounding (6 pieces) immigration, I have created what could be a last view for a migrant, a refugee or a deportee.
38 Photographer: Grant Hancock
David Hay Mt Claremont, WA
Understanding Uses blown glass to create Blown and carved glass a sculptural form. Carved to a seductive finish. The land may seem 73.5 H x 18 W x 18 D cm unvarying but there is always something new to find.
40 Photographer: Adrian Lambert Acorn Photography
Derise Hemmes Scott Creek, SA
My Mother’s Cataract Distortion, obscurity, reflection, Laminated transparencies, etching, deflection and spatial ambiguities cold worked float glass and are some of the inherent commercial lens assemblages characteristics of glass, and these parallel aspects of my mother’s 10 H x 10 W x Various D cm visual impairment. (9 pieces) Using images from her corrective surgery as well as other ophthalmic devices, my work explores the notion of visual perception and the loss of it.
42 Photographer: Michael Kluvanek
Ede Horton Camberwell, VIC
Big Red We all love to collect; by nature Kiln formed and flocked glass we are hunters and gatherers in our own ways. Buttons are an everyday 4.5 H x 35 W x 35 D cm commodity. They are generally small, inexpensive and instilled with memories. My interest in crafting buttons started when I inherited my mother’s button jars, a source of many stories chronicling the past. I remember, she would sew and I would play with the buttons – lining them up, threading or sorting them out by colour and shape.
44 Photographer: David Mc Arthur
Robyn Irwin Freemans Bay, Auckland, New Zealand
Snowmelt – foothills My Snowmelt vesselse inspired ar Cast 45% lead crystal by the volcanic landscape in the Central Plateau of New Zealand. 18.5 H x 46 W x 44.5 D cm Placing black and white glass within the refractory mould allows me to ‘paint’ my picture before the heat within the kiln transforms the work. The final result is a meeting of human and natural forces.
46 Photographer: Studio La Gonda
Nigel Jones Wanganui, New Zealand
Coupling To offer and to receive, Blown glass, hand etched A mapping of intimate connection. As a quiet, unspoken language. 11 H x 25 W x 14 D cm A journey of intimacy and trust.
48 Photographer: Nigel Jones
Sue Kesteven Ainslie, ACT
Sons and Mothers Volumes I & II Glass is a most unlikely material Sandblasted, fused, slumped, for books. It does not resemble cast, cold worked spectrum and paper; it does not behave like paper. Bullseye glass, paint The ‘reader’ can read through the layers or ‘pages’, from the front or 20 H x 13.7 W x 3.5 D cm from the back, or even through the (2 pieces) spine. So even though I have drawn attention to the form of the book by using a material which is very unusual for that form, I have paradoxically used one which ‘disappears’ and so it is the content that is obvious.
These volumes are about my maternal grandfather and his mother, and my maternal great-grandfather and his mother.
50 Photographer: ANU Photography
Miki Kubo Leichhardt, NSW
Frog Bowl – Olive Green When I get crush on certain kinds Blown, carved and engraved glass of creatures, instead of keeping them as a pet I engrave them on 19 H x 19 W x 18.5 D cm glass. In some way, it gives me more kinship to the subject. Glass engraving allows me to push the Frog Bowl – Teal boundaries and bring forth an Blown, carved and engraved glass extra dimension. 19.5 H x 19.5 W x 18 D cm
52 Photographer: Michael Myers
Ruth McCallum-Howell Seville East, VIC
Fractal Bridge The word ‘bridge’ to me has Cast glass always held notions of connectivity. Polarised views of this world are 21 H x 76 W x 3.5 D cm now, more than ever shown to be simply a matter of where we stand. Fractal theory has symbolic meaning in our changing comprehension of the spaces around us.
54 Photographer: Andrew Barcham
Nudibranch Art Glass Fitzroy North, VIC
Galapogoddess ‘In memory of Rainer Arnold, Pâte de verre, flame worked master glassmaker. Rest in peace, beloved friend.’ 28 H x 36 W x 40 D cm The conception of new imaginary Laurie Young and Christian Arnold stories and the re-interpretation of old mythologies lie at the heart of this work. The placement of the Dragon Pearl figures in the fantasy landscape and Pâte de verre, flame worked their interactions, invite and engage 38 H x 38 W x 38 D cm the participant in the creation of their own interpretations. After Laurie Young and Christian Arnold all what happens in this magical aquatic world is constrained only by the imagination, which is limitless.
56 Photographer: Andrew Barcham
Wayne Pearson Lane Cove, NSW
Madame Ginoux Remembers the Landscape is cultural. We transform Beach. Vincent in Avalon series land into landscape by projecting Bent and beveled reverse our stories onto it, stories that we painted glass have absorbed through our culture. 60 H x 60 W x 3 D cm Our iconic images carry these stories and, by overlaying them onto the unknown, we can transform alien lands into something that we can claim as home.
58 Photographer: Marina Bishop
Denise Pepper Bayswater, WA
Wallflower No. 3 Wallflowers: a term used to describe Pâte de verre cast ‘the people not chosen and who will miss the chance to dance’. 570 H x 600 W x 20 D cm The fragile wallflower appears transparent almost forgotten, alluding to our feelings of invisibility and alienation perhaps even our own social withdrawal.
60 Photographer: Peter Stuthridge – PRA Imaging
Rachel Ravenscroft Wanganui, New Zealand
Loop My work explores themes of Kiln formed glass, transition, rhythm, texture and hand etched movement. When I begin I am often not sure what form that will 20 H x 42 W x 5 D cm take. I observe and am affected by my environment and the dynamic geology of New Zealand which is so active, alive and eternally shifting. A sense of something mysterious and unknown, carving and forging its unrelenting path.
Sometimes it is the things that are unknown that are the most intriguing.
62 Photographer: Rachel Ravenscroft
Matthew Ryan Brookvale, NSW
Milk & Honey Inspiration for this piece derives Swedish overlay, cold worked, from a desire to create a uniform fused and slumped glass pattern whilst still allowing organic expression. 10 H x 55 W x 48 D cm Organic substance forms pattern.
64 Photographer: Stephen Cummings
Morgan Shimeld Surry Hills, NSW
Arch Dense and grounded, my sculptures Cast glass, bronze and concrete have a minimal and clean aesthetic. Constructed from architectural 35 H x 26 W x 14 D cm media: cast glass, metal and concrete, the materials interact and complement each other as Pillar they share a symbiotic space. Cast glass, bronze and concrete Textured and smooth, opaque 46 H x 26 W x 14 D cm and transparent, classical and conceptual, it is the subtle and simple relationship of opposites that works to create the symmetry and balance of the sculptures as a whole.
66 Photographer: Greg Piper
Carmen Simmonds Wanganui, New Zealand
The Apron Series: ‘My Fair Lady’ The slightly ragged 1900’s style Cast glass with silver wire apron dress with its flowering bustle and enamel powders and wire apron pays tribute to the strength and beauty of the 55 H x 25 W x 27 D cm colonial woman: a time when new beginnings meant sacrifice and a reinvention of her past self.
68 Photographer: Leigh Mitchell-Anyon
John Skinner Darlington, NSW
Machine for living in Machine for living in1 is a sculptural Cut and sandblasted glass interpretation of the modernist molded concrete form viewpoint. The work examines the materiality and iconic nature 45 H x 120 W x 9 D cm of glass and polished concrete, from such items of utility to ones of desire, and presents idyllic symbols of a modernist design aesthetic.
1 Le Corbusier (Jeanneret, Charles Edouard). Towards a New Architecture (Vers une architecture). Translation by Frederick Etchells from the thirteenth edition. Holt, Rinehart and Winston, 1960.
70 Photographer: Lee Seo Ryung
Crystal Stubbs Stratford, VIC
Character Series ‘Lone’ Within my work I have focused on Hot sculpted solid glass creating stylized figurative pieces that are aesthetically coherent. 68 H x 13 W x 22 D cm Lone reflects a sense of isolation, capturing the solitude of the individual. Through the use of glass, a translucent medium, I create a powerful image of the transient nature of existence.
72 Photographer: Julien Stannus
Mark Thiele Renown Park, SA
Earth Matters At present I am inspired by the Handblown glass, sand rich, striking colours such as orange, carved design ochre, reds and browns found in the outback of Australia. Being 69 H x 19 W x 8 D cm an environmental artist I gain a wealth of information found in nature. I credit the strong interest Desert Shades in my work to the beauty I emulate Handblown glass, sand in our natural environment. I ask carved design that if you see beauty in my work, 60 H x 20 W x 8 D cm please pause, give thanks to our environment.
74 Photographer: Tom Roschi
Zoja Trofimiuk Huntingdale, VIC
Spring Lovers The concept I am working Cast glass, lead crystal with here is that of something standing still, perhaps time or 42 H x 20 W x 15 D cm (piece 1) the relationship between this pair. 26 H x 37 W x 15 D cm (piece 2) Emotion is heightened between these figures by placing emphasis on the fragility of their connection; they seem like they are made of ice and thus transient.
A pink hue shimmers through them to symbolise the passing of time/existence.
76 Photographer: Terence Bogue
Emma Varga Collaroy, NSW
Mist #1 My fused/cast glass objects are Fused, cast and polished glass developed in series, reflecting in colour and pattern the mood 61 H x 9 W x 7 D cm and emotions they represent.
The Mist series is dedicated to quiet atmosphere after early morning rain over the lagoon on which I look out from my studio.
78 Photographer: Emma Varga
Janice Vitkovsky Pialligo, ACT
Movement when whole ‘The relevance of any given situation Murrini technique, fused, expands and contracts according to carved glass our thinking.’ Stephen Procter
13 H x 80 W x 4 D cm I am interested in notions of perspective, and how our emotions colour and form our perspective on things. By working with pattern, I wish to expose the rhythmic and intricate patterns that exist beneath the surface of our reality.
80 Photographer: Simon Mayberley
Bethany Wheeler Caulfield North, VIC
Alight Through multiple process, patterns Fused and cut glass become a fragmented collection of what they once were; describing the 55 H x 28 W x 5 D cm dialogue between constructed and natural environments; internal and external spaces and the undefinable Lunar Incisev space created by these relationships. Fused, cut and slumped glass
27.5 H x 28.5 W x 5 D cm
82 Photographer: Andrew Barcham
Richard Whiteley Queanbeyan, NSW
Naka Aoi This work is inspired by the Cast and hand carved glass Japanese Kimono with the upper form suggestive of a torso or 30 H x 52 W x 14.5 D cm shoulder; the blue interior form an internal glow – reminiscent of a life force. The material qualities of transparency, translucency, and reflection create fertile ground for exploration through kiln cast glass. My work is underpinned by an interest in manipulating and understanding properties of glass associated with light transmission.
84 Photographer: Rob Little
Robert Wynne North Manly, NSW
Lotus pod I am fascinated by the Blown, iridised, sand carved extraordinary beauty of with applied iron finish geometric patterns in nature. Layers of complexity 26 H x 30 W x 30 D cm resolve to elegantly simple forms. The Lotus pod is bursting with promise; delicate and robust, intricate and singular. Light, as life, is contained but for a moment.
86 Photographer: Mark Donaldson
Finalists’ Biographies
Tricia Allen Last Group Exhibition 2005 High Commendation, International Student 2006 Encore ‘06 Glass Artists’ Gallery, Exhibition Glass Art Society Award, Lakes Entrance, Victoria Sydney NSW Adelaide SA Page 6 Public/Private Collections 2004 South Australian Decorative and Fine Arts Born Private collections in Australia, Japan, Society Arts Prize, Adelaide SA 3 April 1962 Yallourn, Victoria, Australia Singapore, Hong Kong, Germany, USA, Education Argentina and Saudi Arabia Andrew Baldwin 1983 Bachelor of Arts in Ceramic Design Mile End, South Australia (hot glass major), Chisholm Institute Nicole Ayliffe of Technology, Melbourne VIC Page 10 Kensington, South Australia Last Solo Exhibition Born 2006 A series of functional vessels: condoms 1 to 7 Page 8 4 November, 1977, Scotland Garry McEwan Gallery, Sydney NSW Born Education Last Group Exhibition 15 February 1977 Adelaide, South Australia, 2002 Associate Designer, JamFactory 2005 25 Years Monash Glass Monash University, Australia Contemporary Craft and Design, Melbourne VIC Education Adelaide SA Public/Private Collections 2005 Scott Chaseling Blowing Fused 2000 BA Hons (Visual), Glass Workshop, Latrobe Regional Gallery, Morwell VIC Glass Workshop Canberra School of Art, Australian Awards 2005 BA Honours (Visual Arts), South National University, Canberra ACT 2002 Nowa Nowa Nudes Art Prize, Australian School of Art, UNISA, 1999 BA (Applied), Ceramics and Glass, Nowa Nowa VIC Adelaide SA University of South Australia, 2001–2004 BA (Visual Arts), South Australian Adelaide SA Christian Arnold School of Art, UNISA, Adelaide SA Last Solo Exhibition Last Solo Exhibition 2006 Thoughts About Detail Toyama Glass Fitzroy North, Victoria 2006 Adelaide City Council High Commendation Studio Gallery and Art Salon, Page 56 Award Exhibition Adelaide City Council, Toyama Japan Born Adelaide SA Last Group Exhibition 30 January 1969 Heidelberg, Germany Last Group Exhibition 2006 Wish List CraftSouth Member’s Show Education 2006 Art Taipei 2006 Hua Shan Culture Park, Pepper Street Gallery, Adelaide SA 2001–2002 MA (Fine Arts), Royal Melbourne Taipei Taiwan Public/Private Collections Institute of Technology, Melbourne VIC Public/Private Collections Toyama City Glass Collection, Toyama Japan 2000–2001 BA (Fine Arts), Royal Melbourne National Art Glass Collection, National Art Glass Collection, Institute of Technology, Melbourne VIC Wagga Wagga Art Gallery NSW Wagga Wagga Art Gallery NSW 1997–2000 Fine Art, Monash University, College of Fine Arts, Northeast Normal KPMG Collection Melbourne VIC University, Changchun China Awards 1991–1993 Apprenticeship Scientific Awards 2005 ArtsSA, Project Assistance Grant, Glassblower, ASAG Rainer Arnold, 2005 High Commendation, Adelaide City Emerging Artists, New Works SA Melbourne VIC Council Award for Visual Art, 2003 South Australian Youth Arts Board, 1990–1991 Photographic Studies, ACPAC, Adelaide SA Project Assistance SA Melbourne VIC 2005 Bullseye scholarship, Scott Chaseling 2003 Australia Council for the Arts, Emerging 1989–1990 Archaeology, Linguistics, Art Blowing Fused Glass Workshop, Artists, New Work AUS Theory La Trobe University, Adelaide SA 2001 JamFactory/Arts SA Pilchuck Glass Melbourne VIC School Scholarship, Adelaide SA 88 2000 Canberra School of Art, Emerging Artists 2000–2002 Multimedia and animation, Camera Public/Private Collections Support Scheme, Canberra ACT Obscura School of Art, Tel Aviv Israel Victoria Albert Museum, Launceston TAS KPMG Acquisition Award, Canberra ACT 1999 Studied graphic design, Dovrat College, Tasmanian Museum, Hobart TAS Tel Aviv Israel South Australian Museum, Adelaide SA Annette Blair National Gallery, Melbourne VIC Westbourne Park, South Australia Christine Cathie Power House Museum, Sydney NSW Page 12 Herne Bay, Auckland, New Zealand National Art Glass Collection, Wagga Wagga Art Gallery NSW Born Page 16 Dupont Collection, USA 18 October 1982 Queanbeyan, Born American Craft Museum, New York USA New South Wales, Australia 27 September 1955 Wellington, New Zealand Perfume Bottle Museum, Kanagawa Japan Education Last Solo Exhibition 2005–2006 Hot Glass Traineeship, JamFactory, 2005 Curve Masterworks Gallery, Awards Adelaide SA Auckland NZ 2005 1 Goblet Awards, Eugene, Oregon USA 2001–2004 Bachelor of Visual Arts with Honours, Last Group Exhibition 1980 Craft Awards, Adelaide SA Canberra School of Art, Australian National 2006 Wind and Waves – beyond the vessel 1979 Craft Awards, Canberra ACT University, Canberra ACT Luniverre Gallery, Paris France Last Group Exhibition Awards Cobi Cockburn 2005 JamFactory Biennial JamFactory, 2004 Finalist, The 2004 Ranamok Glass Prize, Queanbeyan, New South Wales Adelaide SA AUS and NZ Page 20 Public/Private Collections 2004 Members Award (judges Richard Whitely, Peter Kolliner, Kirra Gallery, Melbourne VIC Margaret Tabone), NZSAG Conference, Born Awards Wanganui NZ 2 December 1979 Sydney, 2005 JamFactory/Arts SA Pilchuck Scholarship, 2003 Finalist, The 2003 Ranamok Glass Prize, New South Wales, Australia Adelaide SA AUS and NZ Education Pilchuck Partner Scholarship, JamFactory, 2002 Finalist, The 2002 Ranamok Glass Prize, 2006 Honours Degree, Australian National Adelaide SA AUS and NZ University, Canberra ACT 2004 Takako Sano GAS conference Student 2000 Student Award (judge Dan Klein), 2000 Bachelor of Visual Arts, Scholarship, Adelaide SA NZSAG Conference, Wanganui NZ Sydney University, Sydney NSW Pilchuck Partner Scholarship, Canberra Last Group Exhibition School of Art Canberra ACT Richard Clements 2005 Masters of Australian Glass Sabbia Gallery, Australia Westende Travelling Scholarship, Sydney NSW Franklin, Tasmania Canberra School of Art, Canberra ACT Awards Page 18 2005 Vicki Torr Memorial Prize, Ayelet Brooks Born Adelaide SA 15 November 1950 London, United Kingdom Seabrook, Victoria Education Zara Collins Page 14 1966–1970 Apprenticeship, London England East Sydney, New South Wales Born Last Solo Exhibition Page 22 19 October 1978 Melbourne, Victoria, Australia 1998 Gothheal Gallery, Beaver Creek, Education Colorado USA Born 2006 Completing BA in Fine Arts, Monash Last Group Exhibition 29 April 1974 Adelaide, South Australia, University, Caulfield VIC 2005 Kirra Gallery, Melbourne VIC Australia 89 Finalists’ Biographies (continued)
Education Last Solo Exhibition Public/Private Collections 2000 Bachelor Visual Arts, Sydney University, 2005 The Long Square Purple Space Gallery, Professor Twomey, Vice Chancellor, Curtin Sydney College of the Arts, Sydney NSW JamFactory Contemporary Craft and University of Technology, Perth WA Last Solo Exhibition Design, Adelaide SA Dr Ann Schilo, Postgraduate Coordinator, 2005 Beijing Takings Pyrmont Studios Gallery, Last Group Exhibition Faculty of Built Environment Art and Design, Sydney NSW 2006 Roaring Forties Chappell Gallery, Curtin University of Technology, Perth WA Last Group Exhibition New York USA Awards 2006 Baubles Bangles and Beads Bathurst Regional Public/Private Collections 2006 Emerging Artist 2nd Prize, Lavan Legal Gallery, NSW and various galleries on The Art Gallery of South Australia, Adelaide SA Contemporary Art Exhibition Perth WA Australian Tour Canberra Museum and Gallery, Canberra ACT 2004 New Works Grant, Public/Private Collections University of Canberra Art Collection, Australia Council, NSW Private collections in USA, Australia, Amman, Canberra ACT New Zealand, Korea and Japan Private collections in Australia, Europe, USA Marcus Dillon Awards and Asia Malvern East, Victoria 2004 Visiting Artist Program, Awards Sydney College of the Arts, Page 28 2006 Cowra Art Festival Merit Award winner, Sydney NSW Cowra NSW Born 2004 Australia–China Council Residency 14 May 1974 Melbourne, Victoria, Australia 2001 Ausglass/Thomas Foundation Student in Beijing China (1 month) prize, Melbourne VIC Education 2003 9 month Artist-in-Residency, 2005 Master of Fine Art (Glass), Monash 2000 Alumni Association Certificate of JamFactory, Metal Studio, Adelaide SA University Faculty of Art and Design, outstanding achievement, University Caulfield VIC 2002 Ian Potter Foundation, Cultural Grant, of South Australia, Adelaide SA Melbourne VIC 2000 Honours of Applied Arts (Glass), 1995 Presidents Honour Roll, Calgary Monash University Faculty of Art 2000 First Prize, GAS International Student Alberta Canada Exhibition and Award, New York USA and Design, Caulfield VIC 1998 Bachelor of Fine Art (Glass Major), Estelle Dean Hilary Crawford Monash University Faculty of Art Kingsley, Western Australia and Design, Caulfield VIC Stepney, South Australia Page 26 Last Solo Exhibition Page 24 2006 Symbiotics Art Core Museum, Born Kanaz Forest of Creation, Awara Japan Born 10 November 1959 Cape Town, South Africa 1y 3 Ma 1973 Sydney, New South Wales, Last Group Exhibition Education Australia 2006 Balance-Beauty-Bold Gaffer Studio Glass, 2004–2005 Bachelor of Art (Arts) Honours, Taikoo Place and Island East Hong Kong Education Curtin University of Technology, 2001 Bachelor of Visual Arts 1st class Honours, Perth WA Awards National Institute of the Arts, ANU, 2006 Travel Grant, The Ian Potter Cultural Trust 2001–2003 Bachelor of Art (Arts), Curtin Canberra ACT University of Technology, Perth WA 1999 Bachelor of Design, UNISA, Adelaide SA 1978–1982 Diploma of Applied Science Hamish Dunlop 1994–1995 Glass Major, Alberta College of Art, (Industrial Chemistry) Chisholm Institute Erskineville, New South Wales Calgary Alberta Canada of Technology, Melbourne VIC Page 30 1986–1987 Associate designer, JamFactory Last Group Exhibition Born Contemporary Craft and Design, 2006 Emerge ‘06 Emerge Art Space, 27 February 1974 Dunedin, New Zealand Adelaide SA North Bridge WA 90 Education Craig Ellis Wendy Fairclough 1995 BA Philosophy, Victoria University, Birkenhead, Auckland, New Zealand Bridgewater, South Australia Wellington NZ Last Solo Exhibition Page 34 Page 38 2006 Conceptual Craft GIG Gallery, Born Born Sydney NSW 9 May 1971 Auckland, New Zealand 28 July 1958 New Zealand Last Group Exhibition Education Education 2005 Figuring It Out Glass Artists’ Gallery, 1993 4 Year Diploma in Design, Unitec, 2000 Bachelor of Applied Arts, Glass Major, Sydney NSW Auckland NZ South Australian School of Art, Public/Private Collections Last Group Exhibition Adelaide SA Private collections in New Zealand, Australia, 2006 A Touch of Glass Mairangi Art Centre, 1998 Graduate Diploma in Education and the United Kingdom and Switzerland Auckland NZ Training of Adults, University of South Australia, Adelaide SA Evelyn Dunstan Tegan Empson 1991 Bachelor of Visual Art, Sculpture and Printmaking majors, South Australian Brompton, South Australia Manukau City, Auckland, New Zealand School of Art, Adelaide SA Page 32 Page 36 Last Group Exhibition Born 2006 Object Milford Galleries, Dunedin NZ Born 6 April 1961 Auckland, New Zealand 8 April 1975 Perth, Western Australia, Australia Public/Private Collections Education Museum of New Zealand Te Papa Tongawera, Education 2006 Fusing and Slumping Workshop Claudia Wellington NZ 2005 BA (Visual Art) Honours–1st Class, South Borella, Auckland NZ Australian School of Art, University of National Art Glass Collection, 2004 Cast Glass Year course: Artstation, South Australia, Adelaide SA Wagga Wagga Art Gallery NSW Auckland NZ 1997–1998 Design Associateship, Ministry of Foreign Affairs New Zealand 2003 Cast Glass, Slumping and Fusing Glass: JamFactory Craft and Design Centre, University of South Australia, Adelaide SA Uxbridge, Auckland NZ Adelaide SA Various Private Collections 2002 Stained Glass: Edgewater, 1995 BA (Art) Curtin University of Technology, Awards Auckland NZ Perth WA 2005 Arts SA, Grant for Development of 1981–2006 Ceramics and Pottery through Last Solo Exhibition New Work, Adelaide SA various institutions Auckland and 2005 Idolize Atrium Space, 2004 Arts SA, Grant for Development of Hamilton NZ JamFactory Craft and Design Centre, New Work, Adelaide SA 1979 Graphic Arts: Waikato Polyechnic, Adelaide SA 2001 General Scholarship, Pilchuck Glass Hamilton NZ Last Group Exhibition School, Washington USA Last Group Exhibition 2006 Helpmann Academy Graduate Exhibition 2006 A Touch of Glass Mairangi Arts Mairangi, Torrens Drill Hall, Adelaide SA Auckland NZ David Hay Awards Public/Private Collections Mt Claremont, Western Australia 2005 Bullseye Student Scholarship on Private collections in New Zealand, Australia, Page 40 behalf of University of South Australia England and France to attend Scott Chaseling Workshop, Born Awards 2005 GAS Conference, Adelaide SA 22 February 1961 London, United Kingdom 2006 2nd Prize, NZSAG Members’ Exhibition, Auckland NZ
91 Finalists’ Biographies (continued)
Education Derise Hemmes The Jewish Museum of Australia, Melbourne VIC 1994–1995 Diploma in glass techniques Scott Creek, South Australia National Art Glass Collection, and technology, International Glass Wagga Wagga Art Gallery NSW Page 42 Centre, Dudley College of Technology, Queensland Contemporary Art Gallery, Dudley England Born Brisbane QLD 1980–1983 Bachelor of Engineering, 12 July 1947 Adelaide, South Australia, Australia Ebeltoft Museum, Denmark Qualified with majors in Civil and Education South Australian School of Design SA Structural Engineering, 2004–present Bachelor of Visual Arts (glass), Footscray City Council VIC University of Western Australia, Perth WA Uni SA, Adelaide SA Private Collections in Australia, USA and Europe Last Solo Exhibition 1985–1989 Associate Diploma Ceramics, 2001 Gadfly Gallery, Perth WA Underdale CAE, Adelaide SA Awards 2003 Judith Altman Award, Temple Judea Last Group Exhibition 1967–1970 Dip T Art, SA School of Art, Museum, Philadelphia USA Australian Visions In Glass Leerdam Glass Gallery, Adelaide SA 1989 Box Hill Acquisition Award VIC Leerdam Holland Last Group Exhibition Public/Private Collections 2005 International Glass Students’ Exhibition 1983 Australia Council Grant AUS 2005 Australian National Gallery, Canberra ACT Kauna Gallery, Adelaide SA 1981 Australia Council Exhibition Grant AUS 2005 Ulster Museum, Northern Ireland UK 2005 Victoria and Albert Museum, London UK Ede Horton Robyn Irwin 2004 Berlin Decorative Arts Museum, Camberwell, Victoria Freemans Bay, Auckland, New Zealand Berlin Germany Page 44 Page 46 2001 City of Devonport TAS Born Born 2001 Artbank selected from Solo show Gadfly, 9 December 1952 Sydney, New South Wales, 22 July 1953 Wellington, New Zealand Perth WA Australia Education Awards Education 1999 and 2001 Cast glass workshops, 2005 Finalist, The 2005 Ranamok Glass Prize 1998–2002 Masters of Philosophy (Visual Arts), Artstation, Auckland NZ AUS and NZ National Institute of the Arts, Australian 1983 MA Dist (Clinical and Community Finalist, The Tom Malone Glass National University, Canberra ACT Psychology) Victoria University, Award AUS 1993–1998 Kiln forming workshops with D Wellington NZ 2003 Finalist, The Tom Malone Glass Reekie, K Ogita, A Robinson, J Rybach 1975 BA Honours (Psychology) Award AUS and Tessa Clegg Otago University, Dunedin NZ Finalist, The 2003 Ranamok Glass Prize 1983–1984 Architectural glass design Last Solo Exhibition AUS and NZ workshops with L Schaffrath, J Shreiter, 2005 FLOW Masterworks Gallery, 2002 Finalist, The City of Hobart Glass Prize TAS J Poensgen and P Marioni Auckland NZ Finalist, The Tom Malone Glass Award AUS Last Solo Exhibition Last Group Exhibition Finalist, The 2002 Ranamok Glass Prize 2004 Soft Power Span Galleries, 2006 Contemporary Glass An exhibition of major AUS and NZ Melbourne VIC works by leading Australian and New Zealand 3D Prize, The City of Wannerroo Art Last Group Exhibition Artists Masterworks Gallery, Auckland NZ Awards, Perth WA 2006 Wagga Wagga Art Gallery NSW Public/Private Collections 2000 Finalist, City of Perth Craft Awards 2000 WA Public/Private Collections Ebeltoft Glass Museum, Denmark 1995 Colin Gill Memorial Award, Parliament House, Canberra ACT Private collections in New Zealand, Australia International Glass Centre UK Nishida Museum, Toyama Japan and USA
92 Awards 1974 Master of Arts (Linguistics), Harvard 2004 Bachelor Applied Arts Monash University, 2006 First Prize, Members Exhibition University USA Melbourne VIC NZSAG Conference, Auckland NZ 1972 BA (Hons), Australian National University, Last Solo Exhibition 2003 Grant, Creative New Zealand Canberra ACT 2005 Morphology Smyrnios Galleries Australia, Prahran VIC Nigel Jones Miki Kubo Last Group Exhibition 2005 Monash Retrospective 25 Years of Glass Leichhardt, New South Wales Wanganui, New Zealand Monash University Gallery, Page 48 Page 52 Melbourne VIC Born Born Public/Private Collections 24 April 1968 Newport, Gwent, Wales 5 November 1971 Uji, Kyoto, Japan Latrobe Regional Gallery Collection, Education Education Gippsland VIC 1987–1990 BA (Hons) Degree 3D Design: 1991 BA Visual Arts, Kyoto College of Art, Smyrnios Galleries Australia, Prahran VIC Glass and Ceramics Buckinghamshire Kyoto Japan (private collection) College of Brunel University UK Last Group Exhibition Awards 1986–1987 Diploma in Art and Design: 2006 Engraved surfaces, Kirra Australia Gallery, 2006 Pilchuck Partnership Scholarship Epsom School of Art and Design UK Melbourne VIC for residential Session 3 2006, Last Group Exhibition Public/Private Collections Seattle Washington USA 2006 A Touch Of Glass Mairangi Arts Centre, National Art Glass Collection, Mairangi Bay, North Auckland NZ Wagga Wagga Art Gallery NSW Wayne Pearson Awards Awards Lane Cove, New South Wales 2002 Premiere Award Winner, 2006 First Award in Glass Section of Sydney Gaffer Glass Award NZ, judged by Royal Arts Show, Sydney NSW Page 58 Tina Oldknow, Curator of Corning 2005 Finalist, The 2005 Ranamok Glass Prize Born Museum of Glass, New York USA AUS and NZ 14 July 1949 Coonamble, New South Wales, 1998 Premiere Award Winner, 2005 Scholarship from The Corning Museum Australia Sculpture Division, Cleveland Art of Glass, Corning, New York USA Education Awards, USA 2004 Australia Council, Skills and Arts 2004 Master Studio Arts, Sydney College 1997 Wanganui Polytechnic Research grant Development grant AUS of the Arts, Sydney NSW Furnace Design and Efficiency NZ 1983 Bachelor Education (Visual Arts), Ruth McCallum-Howell University of New South Wales, Sydney NSW Sue Kesteven Seville East, Victoria 1971 Diploma Art Education, AMTC, Ainslie, Australian Capital Territory Page 54 Sydney NSW Page 50 Born Last Solo Exhibition Born 12 April 1975 Brisbane, 2006 Avalon, Touch, Icarus and the Moon Glass 4 September 1950 Sydney, Queensland, Australia Artists Gallery, Sydney NSW New South Wales, Australia Education Last Group Exhibition Education 2006–present Master of Fine Arts, Monash 2006 Launch ‘06 Glass Artists Gallery, 1978 Master of Environmental Studies, University, Melbourne VIC Sydney NSW Australian National University, 2005 Bachelor Fine Arts Honours, Monash Canberra ACT University, Melbourne VIC
93 Finalists’ Biographies (continued)
Denise Pepper Public/Private Collections Morgan Shimeld Ebeltoft Museum of Contemporary Glass, Bayswater, Western Australia Surry Hills, New South Wales Ebeltoft Denmark Page 60 Awards Page 66 Born 2005 Cheongju International Craft Biennale Born 26 April 1960 Perth, Western Australia, Australia Competition, Special Citation Awarded. 7 June 1979 Sydney, New South Wales, Australia Education Republic of Korea Education 2004–2006 BA Visual Arts – Sculpture Major: 2004 Bullseye ‘E-merge’ Exhibition. A Showcase 1998–2000 Bachelor of Visual Arts, Sydney Edith Cowan University Mount Lawley WA of Rising International Talent in Kiln College of the Arts, University of Sydney, 2001–2003 Advanced Diploma of Formed Glass, Third Prize Awarded, Sydney NSW Environmental Art: Swan TAFE, Bullseye Glass Centre, Portland Last Solo Exhibition Midland WA Oregon USA 2006 Architectural Evolution Brenda May Gallery, Last Group Exhibition Danks Street, Waterloo NSW 2006 Flair Ausglass Exhibition, Perth WA Matthew Ryan Last Group Exhibition 2006 Small Brenda May Gallery, Public/Private Collections Brookvale, New South Wales FAB Fones Pty Ltd, Melbourne VIC Danks Street, Waterloo NSW Page 64 Awards Public/Private Collections Artbank, Australia wide 2006 Finalist, A Place in the World Exhibition Born Association of Commonwealth 23 January 1974 Sydney, Jane Dawson, Sydney NSW Universities (ACU) and University New South Wales, Australia Phyllis Koshland, Sydney NSW of Adelaide, Visual Art Prize, Education Adelaide SA 2002 Glassblowing Journeymanship with Carmen Simmonds Neil Wilkin and Peter Bremers, Wanganui, New Zealand Frome UK Rachel Ravenscroft Page 68 Wanganui, New Zealand 2001–2003 Glassblowing Apprentice to Bath Aqua Glass. Bath UK Born Page 62 1993–1995 Apprentice to Paddy Robinson, 23 August 1966 Marton, New Zealand Born Finglinna Studios. Sofala NSW Education 24 August 1968 Oxford, England 1990 Colour and Design Certificate TAFE, 2002 Bachelor of Fine Arts, Education Sydney NSW Distinction in Glass, UCOL, 1997–1998 Diploma in Business Studies Wanganui NZ 1987–1992 Apprentice to Spectrum Stained 1990–1992 Three-Dimensional Design, Glass, Sydney NSW Last Solo Exhibition Spatial Design, (2yr part study of a 3yr 2004 New Zealand School of Dance Graduation Last Solo Exhibition degree program), Brunel University, Show: Featuring The Dancing Girls Curated 2006 New Glass by Matthew Ryan Represented Buckinghamshire UK by Te Papa Store, New Zealand School by Blowfish Glass, Bathurst Regional Art of Dance, Wellington NZ 1988–1989 Diploma in Art and Design, Gallery NSW Banbury College of Art, Banbury, Last Group Exhibition Last Group Exhibition Oxfordshire UK 2006 Material Matters Masterworks Gallery, 2006 Sydney Art Fair Represented by SOHO Auckland NZ Last Group Exhibition Galleries, Sydney NSW 2006 A Touch of Glass Public/Private Collections Mairangi Arts Centre, Mairangi Bay, Private collections in Australia and the North Auckland NZ United Kingdom
94 John Skinner Last Group Exhibition 2001–2004 Tenant (operating own practice), 2005 Journey through the flame Kirra Gallery, JamFactory, Adelaide SA Darlington, New South Wales Melbourne VIC Guest Lecturer, JamFactory, Page 70 Public/Private Collections Adelaide SA Born Latrobe Regional Art Gallery, Morwell VIC 1999–2000 Design Associate, Glass Studio, 14 January 1977 Adelaide, South Australia, Awards JamFactory, Adelaide SA Australia 2005 The Waterhouse Natural History Art 1995–1998 Bachelor of Arts with Honours Education Prize – Third place sculpture section, (visual) The Australian National 2005–present Bachelor of Visual Arts (Glass and Adelaide SA University, Canberra ACT Object Design), Sydney College of the 2002 Pilchuck Glass School partial scholarship, 1994 First Year, Bachelor of Design, Arts, University of Sydney, Sydney NSW Seattle Washington USA University of South Australia, Adelaide SA 2004 (deferred) Bachelor of Design 2001 Latrobe Regional Art Gallery Last Solo Exhibition (Architecture/Digital Media), University Acquisition Award, Monash University, 2004 Element Master Works Gallery, of Sydney, Sydney NSW Melbourne VIC Auckland NZ 2002 Bachelor of Business Administration, Last Group Exhibition Central Queensland University, Sydney 2006 Collect International Art Fair V&A, International Campus, Sydney NSW Mark Thiele Renown Park, South Australia London, United Kingdom 1998 Certificate III in Commercial Cookery Represented by Raglan Gallery, Page 74 – Trade, Sydney Institute of Technology, Sydney NSW Sydney NSW Born Public/Private Collections 1996 Diploma of Hospitality Management, 28 April 1970 Murray Bridge, South Australia, 2003 Private Collections, Ryde College of Tafe, Sydney NSW Australia National and International Last Group Exhibition Education 2002 Art Gallery of South Australia, 2005 This Way Up Newspace, Sydney NSW 2006 Currently operating own studio practice, Adelaide SA Adelaide SA Artbank, Sydney NSW 2005 Operating own studio practice, Crystal Stubbs 2001 The Ranamok Glass Prize Winners Meadows SA Stratford, Victoria Collection, Sydney NSW South Australia Board Member, Thomas Foundation, Noosa QLD Page 72 The Australian Association of Glass Born Artists (Ausglass), Adelaide SA 1998 Australian National University Art Collection, Canberra ACT 9 May 1980 Melbourne, Victoria, Australia 2004 Instructor, Cold Working Facilities Education Demonstration, JamFactory: Awards 2004 Pino Signoretto workshop, Contemporary Craft and Design, 2006 Australia Council Grant, Green Street Pilchuck Glass School, Seattle USA Adelaide SA studio residency, New York USA 2002 Dino Rosin workshop, Pilchuck Glass Guest Lecturer, Canberra School of Art, 2002 Arts SA Grant: Development and School, Seattle USA Australian National University, Research, Surface Working on Glass 2001 BAA Honours, Monash Uni, Canberra ACT 2002 Finalist, The 2002 Ranamok Glass Prize Caulfield VIC 2003 Glass Lecturer, South Australian School AUS and NZ 2001 Dino Rosin workshop, Pilchuck Glass of Art, University of South Australia, 2001 Winner, The 2001 Ranamok Glass Prize School, Seattle USA Adelaide SA AUS and NZ Last Solo Exhibition Guest Lecturer (topic: Working Practice), 2000 Finalist, The RFC Glass Prize AUS and NZ 2005 New works by Crystal Stubbs Kirra Gallery, JamFactory, Adelaide SA 1999 Finalist, The RFC Glass Prize AUS and NZ Melbourne VIC 95 Finalists’ Biographies (continued)
Zoja Trofimiuk Last Solo Exhibition Awards 2006 Dreamtime Down Under Retrospective 2006 Object Award for Studio based practice, Huntingdale, Victoria Exhibition The Museum of Applied Art, Sydney NSW Page 76 Belgrade Serbia Scholarship to attend North Lands Born Last Group Exhibition Creative Glass School, 17 February 1952 Prague, Czech Republic 2005 Import Export: Global Local Lybster Scotland UK Education Victoria & Albert Museum, London UK 2005 Publication Australian Glass Studio, 2002 BA Glass, RMIT, Melbourne VIC Public/Private Collections Margot Osbourne, pg 128, 129 1991 MA Master of Fine Art, RMIT, Australian Art Trust, Melbourne VIC Pamille Berg & Robin Blau Logos Award, Melbourne VIC Glassmuseum, Ebeltoft Denmark Canberra ACT 1977 BA Diploma in Fine Art, Academy Museum of Applied Art, Belgrade Serbia Australian Decorative and Fine Art of Fine Art, Interglass Symposium Collection, Society Award, Canberra ACT Cracow Poland Novy Bor Czech Republic Henry Ergas Acquisition, Canberra ACT Last Solo Exhibition Arrango Design Foundation, Miami USA CraftACT Emerging Artist Award, 2005 Sculpture and Graverre Adam Galleries, Sebastian Gallery, Dubrovnik Croatia Canberra ACT Melbourne VIC Awards 2004 ArtSA Emerging Artist Grant to develop Last Group Exhibition 1991 Annual Award of the Association new work, Adelaide SA 2006 Works on Paper II Prague Czech Republic of Applied Artists, for entire opus, 2003 Australia Council Mentorship with Public/Private Collections Belgrade Yugoslavia Giles Bettison in New York USA, AUS Canson Australia 2002 SA Youth Arts Board Grant, Adelaide SA German Embassy, Prague Czech Republic 2000 Scholarship to attend Pilchuck School of Ministry of Culture, Prague Czech Republic Janice Vitkovsky Glass, Seattle, USA, from JamFactory and Print Council of Australia, Melbourne VIC Pialligo, Australian Capital Territory ArtSA, Adelaide SA RMIT Art Collection, Melbourne VIC Page 80 Toowoomba Regional Art Gallery QLD Born Bethany Wheeler Warrnambool Regional Art Gallery VIC 15 September 1977 Adelaide, South Australia, Caulfield North, Victoria Smorgon Art Collection AUS Australia Education Page 82 2005 Bachelor of Visual Arts Honours, Born Emma Varga Australian National University, 29 April 1979 Melbourne, Victoria, Australia Collaroy, New South Wales Canberra ACT Education Page 78 2000–2001 Design Associate, Traineeship, 2003 Master of Fine Art by Research (Glass), JamFactory Contemporary Craft and Monash University, Melbourne VIC Born Design, Adelaide SA Last Group Exhibition 22 March 1952 Ada, Yugoslavia 1996–1999 Bachelor of Applied Arts, South Synthesis: Fusing + Kiln Forming Morgan Education Australian School of Art, Adelaide SA Contemporary Glass Gallery, Pittsburgh USA 1975 BA (honours) Major(s) in Glass Design Last Solo Exhibition Public/Private Collections and Ceramic Sculpture, University of 2003 Purple Space JamFactory Craft and Design National Art Glass Collection, Applied Arts, Ceramic Department, Centre, South Australian Living Artist Wagga Wagga Art Gallery NSW Belgrade Yugoslavia Week, Adelaide SA Private Collections in Saudi Arabia, Nigeria, Last Group Exhibition Belgium, USA, Japan and Australia 2006 Newdesign Object Gallery, Sydney NSW
96 Richard Whiteley Awards (annually since 2001) Melbourne VIC National Art Glass Collection, Wagga Wagga Art Gallery NSW Queanbeyan, New South Wales Australia Council Grant. Individual Project Grant AUS Glasmuseum, Ebeltoft Denmark Page 84 2004 artsACT, Individual Project Grant, Born Canberra ACT 6 September 1963 East Dean, England Laurie Young 2003 Craft ACT Mentorship Grant, Fitzroy North, Victoria Education Canberra ACT Page 56 1992 Master of Fine Arts (MFA), University 2000 Winner, The RFC Glass Prize 2000, Born of Illinois, Urbana USA (Department AUS and NZ Head–William Carlson) 16 January 1958 San Jose, California, 1999 Peoples Choice Prize, The RFC Glass United States of America 1987 Bachelor of Visual Arts (with distinction), Prize, AUS and NZ Canberra School of Art, Education First Prize, International Expo, Glass Art Australian National University 2005 Honours (Glass), Monash University, Society Conference Tampa, Florida USA (Workshop Head–Klaus Moje) Melbourne VIC 1992 Fellowship residence with Harvey 1986 Pilchuck Glass School (Cast Glass with 2004 Bachelor of Applied Arts (Glass), Littleton, North Carolina USA Stanislav Libensky & Jaroslavá Brychtova) Monash University, Melbourne VIC Last Solo Exhibition 1995 Bachelor of Social Work, University 2005 New Work Marx-Saunders Gallery, Robert Wynne of Melbourne, Melbourne VIC Chicago Illinois USA North Manly, New South Wales 1990 Advanced Certificate of Residential Last Group Exhibition Page 86 and Community Service Intellectual Collectables Axia Modern Art, Disability Studies Born Melbourne VIC 1978 Bachelor of Fine Art, Studio Art 14 March 1959 Yarram, Victoria, Australia Public/Private Collections University of Hawaii USA Education Artbank AUS Last Group Exhibition 1983 Master of Arts in Art, California State 2005 Figure It Out Glass Artists Gallery, Australia National Gallery, Canberra ACT University, Chico California USA Sydney NSW Bullseye Glass Company Collection, USA 1981 Graduate Diploma of Visual Arts, Monash Public/Private Collections Lang Walker Fine Art Collection, AUS University (Gippsland IAE), Churchill VIC Private collections in Australia and USA National Art Glass Collection, 1979 Diploma of Visual Arts, Monash University Awards Wagga Wagga Art Gallery NSW (Gippsland IAE), Churchill VIC 2004 Axess Glass Award, Melbourne VIC Powerhouse Museum, Sydney NSW Last Solo Exhibition 2004 Outstanding Applied Arts Student Queensland Contemporary Art Gallery, 2006 Ethereal Light Kirra Australian Glass and Northcote Pottery, Melbourne VIC Brisbane QLD Modern Art, Melbourne VIC The Ranamok Glass Prize Winners Collection, Last Group Exhibition Sydney NSW 2006 Qdos Glass Show Qdos Gallery, Barbara and David Thomas Collection, Lorne VIC AUS and NZ Public/Private Collections The Art Trust, Melbourne VIC Bill Clinton, New York USA Victorian State Craft Collection Prince Hirohito/Royal Family, Tokyo Japan Melbourne VIC New Parliament House, Canberra ACT Awards Powerhouse Museum, Sydney NSW 2005 National Design Commission for Queensland Contemporary Art Gallery, Australian Business Arts Foundation Brisbane QLD
97 Glossary of Glass Terms
Annealing Controlled cooling of a glass article Cane Rods of glass usually formed by drawing Enamel A vitreous substance made of finely in order to remove any strains that may have out long lengths of glass from large gathers on powdered glass coloured with metallic oxide, otherwise been ‘frozen’ in the glass by rapid a punty iron. Bundles of canes are often fused suspended in an oily medium for ease of cooling during shaping. together and drawn out again to a suitable application with a brush. The medium burns diameter before being cut into small decorative away during firing. Sometimes several firings Blown Glass The technique of forming an pieces such as millefiori for picking up into are required to fuse different colours onto an object by inflating a gob of molten glass paperweights. They are also cut into lengths and elaborately enamelled object. gathered on the end of a blowpipe. The gaffer placed against the side of an open mould for blows through the tube, slightly inflating the picking up onto a gather which is marvered and En Calmo A glass blowing technique derived gob which is then manipulated into the required pulled out to make rods used for opaque twists from an Italian word meaning ‘to join’ or graft. form by swinging it, rolling it on a marver, or and filigree work. shaping it with tools or in a mould; it is then Intaglio Engraving This refers to any form of inflated to the desired size. Carved A term commonly used to describe engraving which is cut or incised; it is now also glass which has been cut or abraded into shape generally accepted as referring to all work which Blowpipe A hollow, tapered metal tube, usually from a solid block. It is also one that can be used is modelled into the glass as negative form, 1.3m long. The craftsperson gathers molten to refer to blown or cast glass which has been giving an impression of actually standing out as glass on the thicker end of the pipe and blows further shaped by cutting, abrading, nibbling positive relief. It is usually carried out by using a through the narrow end to inflate and shape and/or grinding. small lathe equipped with copper wheels which the glass. The blowpipe comes in different sizes are fed with a mixture of oil and abrasives. depending on the height of the worker, their Casting A process of shaping molten glass by strength, and the size of the piece to be blown. pouring or melting it into a mould. Float Process An invention by Pilkington in 1959 for continuous casting glass on a bed of Borosilicate Glass A glass made from both Cold Worked An all-embracing term for the molten tin. This process produces a perfectly silica and boric oxide usually manufactured for various techniques such as engraving, grinding, smooth sheet of uniform thickness in high laboratory ware, domestic cooking ware and carving, cutting etc carried out when the glass volume and is used to produce virtually all for many kinds of technical purposes where is cold. common window glass today, thus the term a relatively high resistance to both heat and ‘float glass’. This became a world wide thermal shock is required. It is also used for Cullet Broken or scrap glass. Adding cullet, with standard as float glass production. low expansion-type glasses required to bond the same composition as the glass to be melted, to metals and for glasses with high degrees of to the batch mixture, aids melting by acting as Furnace The primary heating unit from where chemical resistance. Ideal for lampworking. a flux. the glass blower gathers molten glass.
Bullseye Glass The brand name of a glass Electroforming A method of applying a Fusing Heating pieces of glass in a furnace or manufactured in the USA for the specific thin coat of metal (e.g. copper) to a cold kiln until they bond. purpose of kiln working. The majority of glass surface. Cold glass is a non-conductive Bullseye glass is compatible, meaning that it material so the surface needs to be treated and Gaffer (English: corruption of ‘grandfather’) has the same or a similar rate of expansion. sandblasted in order for it to be able to conduct The master craftsperson in charge of a chair an electric current. or team of hot glass workers.
Acid Etched A process of producing matt Glass Blowing The shaping of molten glass by surfaces by the use of various mixtures of air pressure and manipulation. chemicals based on hydrofluoric acid. Glory Hole The furnace used to reheat glass on the blowpipe or punty is a Glory Hole.
98 Graal A technique, reputedly developed at Lead Glass Glass that contains a high percentage Pâte de Verre (French: glass paste) A material the Orrefors factory, in order to create more of lead oxide. It is relatively soft and has a high produced by grinding glass into a fine powder precise decoration than previously possible at refractive index. Ideal for wheel cutting. and adding a binder to create a paste. the glassmaker’s chair. A gather of clear glass is cased with a layer of coloured glass, or vice Lost Wax A technique adapted from Polishing A cold working process where the versa. It is then blown out into a bubble, to be metalworking. The object to be made in glass glass object is smoothed either by holding it either left as a bubble or opened out into a bow, is modelled in wax and encased in a plaster against a rotating wheel fed with a fine abrasive, and annealed before allowing cooling. The layer mix. The wax is melted out of the plaster by immersing the glass in acid or by a hot flame. of colour is cut, and abraded by sandblasting thus forming the mould into which molten or or etched with acid to produce the required powdered glass is added. After annealing, the Punty A metal rod for gathering and decoration. The bubble or bowl is then heated mould is removed from the glass object which manipulating the hot glass. It is usually used to and picked up on either a punty or a blowing is then cold finished either by grinding, fire remove the partly formed glass object from the iron to be worked to the final form. The name or acid polishing or sandblasting according to blowpipe and for bringing ‘bits’ of hot glass to ‘Graal’ refers to the legendary bowl in which the the surface required. the glass blower to be applied as handles, prunts blood of Christ was collected as he hung or other decoration to a piece. on the cross. Marvering Rotating hot glass on a polished iron or marble slab to cool, control and Roll–up A hot glass technique in which a mosaic Grisaille Technique A method of decorative centre the gather on the blowpipe to bring of glass is fused into a solid tile which is then painting in monochromatic grey (but not it to better workability. placed onto a flat metal plate and heated the exclusively) on stained glass windows. same way murrini or cane is. As murrini and Melt Molten glass obtained by melting a batch cane have definitive names, relating to their Hot Glass A generic term for glass working of raw materials at one time. own process, it is important to recognise this from the furnace. blowing of a fused tile with its own appellation. Metal Molten Glass The term can also refer to Hot worked or sculpted A technique in glass in its solid, cooled state. Sandblasting A surface matting technique to which molten glass is gathered directly from achieve texture and decoration or to re-define the furnace on a punty and manipulated using Mould Blown An open ended cylindrical a shape by sandcarving. An air compressor is specialised tools. designed to create effects or grooves in the used to propel sand or grit onto the object or molten glass by blowing into the blowpipe while surface. Pioneered by Val St Lambert in 1907. Inclusion An element of glass or a foreign body in the mould vertically. enclosed in glass. Slumping A process, generally worked in a kiln, Murrini The English adjective ‘murrhine’ and which uses heat and gravity to change the shape Kiln Forming The process of fusing or shaping the Italian adjective ‘murrino’ are sometimes of a three dimensional form. (usually in or over a mould) by heating it in a kiln. applied to mosaic glass and similar objects. When used as a noun, murrina refers to a slice of Vitreous Of, relating to, or like glass, obtained Laminated The joining together of layers of a complex cane, while a murrino is an insert of from glass, resembling glass in some property, glass either by fusing or by the use of adhesives. multicolored glass embedded in a glass object. or having a glass-like appearance.
Lampworking A process of forming glass Overlay A layer of glass gathered over a layer Wheel Cut The use of various types of abrasive articles from glass tubing and rod by heating of a different coloured glass. wheels to produce a wide range of decorating in a flame from a torch. Lampworking is also facets and cuts. called flameworking.
99 The Judges
Jacqueline Clayton Ivana Jirasek Jacqueline Clayton is Head of the School Ivana Jirasek is Coordinator at Artsuppport of Design Studies at the College of Fine Australia, an initiative of the Australia Council Arts, University of NSW. In this role, she is for the Arts to increase cultural philanthropy. responsible for a range of both undergraduate She had previously worked on Craft Policy and postgraduate studio programmes in for the Australia Council after long involvement object, spatial, graphic, ceramic, jewellery with the contemporary craft community as and textile design. curator and writer. She has worked for Jacqueline has a long-standing interest in Craft Queensland, and was Contemporary contemporary glass, and was centrally involved Craft Curator for a partnership of the Centre in the establishment and administration of the for Contemporary Craft (now known as glass programme at the University of Western Object), Wollongong City Gallery, University Sydney between 1979 and the mid 1990s. of Wollongong and the NSW Regional Jacqueline exhibits regularly, both in Australia Galleries Association. and overseas, most recently as part of She catalogued the National Art Glass Australian Installation Artists at the Brigham Young Collection at Wagga Wagga Art Gallery, Museum of Art, Utah, USA. She is a member and worked on glass projects for a of AIECA (Association of International Art partnership involving the National Gallery Critics) and a contributor to a number of of Australia, Curator Geoffrey Edwards and publications including Ceramic Art and Perception. The Thomas Foundation. Ivana was a Judge of the RFC Glass Prize (now Ranamok) ten years ago and has been Frank Howarth actively involved in Ausglass conferences as Frank Howarth is passionate about the coordinator of exhibitions and workshops. natural world, and about Sydney and its She has presented at international glass cultural institutions. events including the ICOM Glass Committee He trained as a geologist, completing a Conference and continues to write reviews Geology Degree at Macquarie University, on glass. and followed that with a Master of Science and Society from the University of NSW. In 1996 he became Director and Chief Executive Andy Plummer of the Royal Botanic Gardens and Domain Andy Plummer is an Executive Director of Trust. In February 2004 he took up his current Excel Coal Limited. He and his wife, Deirdre, role as Director of the Australian Museum. collect contemporary glass from Australia and New Zealand. The use of natural science and cultural collections to inspire people about the natural world and its conservation attracted Frank to working with botanic gardens and museums. Frank is a keen bushwalker, cyclist and collector of contemporary Australian and New Zealand glass art.
100 Ranamok 2006 Tour Dates
24 August – 23 September 2006 13 – 17 November 2006 8 February – 11 March 2007 ANU School of Art Gallery Level 3 Display Area Carnegie Gallery National Institute of the Arts Queensland Parliament House 16 Argyle Street The Australian National University Brisbane QLD 4000 Hobart TAS 7000 Corner of Ellery Crescent and Liversidge Street 0419 493 345 (03) 6238 2845 Acton ACT 2601 (02) 6125 5841 24 November 2006 – 14 January 2007 31 March – 13 May 2007 Wagga Wagga Art Gallery Latrobe Regional Gallery 7 October – 29 October 2006 Civic Centre, Baylis Street 138 Commercial Road Sydney Opera House Exhibition Hall Wagga Wagga NSW 2650 Morwell VIC 3840 Sydney NSW 2000 (02) 6926 9660 (03) 5128 5700 (02) 9250 0139 Exhibiting as an Associated Event of ‘Art & About’, presented by the City of Sydney and AMP Capital Investors
Acknowledgements
Ranamok Glass Prize Limited wishes to thank all our sponsors, judges and the following:
Board Members: Ranamok 2006 catalogue essay: Andy Plummer Richard Perram Maureen Cahill 2006 Craft Arts International essay: Jane Burns AM Eva Czernis-Ryl Damien Clarke Deirdre Plummer Ranamok Website and Database Development: Dupree Design Group Fundraising: Andy Plummer Administration: Glen Heard Underwriting: Deirdre Plummer Excel Coal Limited
Design | Dupree Design Group www.dupree.com.au Print | Lindsay Yates & Partners Pty Ltd A detail from: Ominous Fruit by Joanna Bone Ranamok Glass Prize Winner 2005 www.ranamok.com