RANAMOK GLASS PRIZE 2007 Underwriter and Gold Sponsor of the 2007 Ranamok Glass Prize v

Gold Sponsor

RANAMOK GLASS PRIZE SPONSORS 2007 Contents

The Ranamok Glass Prize 2007 3 Jane Morrisey 42 Ranamok 2007 – Some Nudibranch Art Glass: Judgmental Observations 4 Laurie Young and Christian Arnold 44 Finalists Ruth Oliphant 46 Ebony Addinsall 6 Graham Orridge 48 Kate Baker 8 Wayne Pearson 50 Romani Benjamin 10 Lou Pendergrast Mathieson 52 Claudia Borella 12 Dale Roberts 54 Anne Clifton 14 Matthew Ryan 56 Hilary Crawford 16 Iris SiYi Shen 58 Mike Crawford 18 Adam Sinclair 60 Evelyn Dunstan 20 Jenny Smith 62 Jaymz Edmonds 22 Rob Stewart 64 Benjamin Edols and Jennifer Taylor 66 Kathy Elliott 24 Bethany Wheeler 68 Judi Elliott 26 Vicki Fanning 28 Finalists’ Biographies 70 Brenden Scott French 30 Glossary of Glass Terms 78 Kevin Gordon 32 The Judges 80 Brent King 34 Ranamok 2007 Tour Dates 81 James McMurtrie 36 Acknowledgements 81 Karleena Mitchell 38 Peng (Faye) Mo 40

2 The Ranamok Glass Prize 2007

A few people do a lot to make the Ranamok Prize work. I’d like to acknowledge all of the hard work by everyone that has been involved in making the 13th Ranamok Glass Prize a reality. It’s a major undertaking. In particular, my thanks go to Maureen Cahill who is the co-founder of the Prize, the directors of Ranamok Glass Prize, this year’s judging panel (Gillian McCracken, Ivana Jirasek and Frank Howarth), and finally the three people who administer the Prize, Glen Loxton, my daughter Elizabeth and my wife Deirdre. As Chairman of Ranamok Glass Prize, one of my jobs is to make sure we have enough money to stage the exhibition. The lion’s share of our funding comes from corporate sponsors. Last year, Excel Coal, which has underwritten the Prize since 2002, was sold to Peabody Energy (incidentally, also one of our corporate sponsors), so we were left with a potential major hole in our funding capacity. However, I’m pleased to say that a new public company, Whitehaven Coal, has since filled the breach as our new underwriter. Whitehaven’s commitment has, in turn, been supported by the donations of over 20 corporate sponsors. Without your support, it simply wouldn’t happen and we do appreciate your assistance. Finally, I’d like to acknowledge all of the artists who put themselves and their work on the line. Without your imagination, skill and effort, there would be no Ranamok. This year’s show is a good one… we are seeing established, well known artists taking interesting new directions and a number of new artists with some very exciting work. Andy Plummer

Once again, the Ranamok beacon shines brightly. We are very grateful to all of those who have made this happen. Maureen Cahill Glass Artists’ Gallery Co-founder, Ranamok

3 Ranamok 2007 – Some Judgmental Observations

To corrupt an advertisement, it’s the quality of the things considered 2007, and Jaymz Edmonds’s work we reject that makes Ranamok so good, and If it weren’t for your gumboots all bring a bit of this year we did indeed reject high quality works. humour to the show, and are excellent works. More of that later. What about social commentary? Should a Ranamok is now firmly established as the survey of movement as new, but as progressive as art glass glass art practice in Australia and New Zealand, and engage with contemporary social issues? I think I feel privileged indeed to be a judge; now for the yes. And here I’m limited by commenting on second year. So in this introduction you get my what was entered for, and ultimately selected perspective, both as judge and as a collector. And in, this year’s show, rather than a fuller survey before anyone runs away and looks for biases based of the field. So far as the selected works are on what I will declare later of my own interests, the concerned, Jane Morrisey’s beautifully self judging is done without knowing the maker’s contained and perpetual Shower is one work name, and is the sum of the judges’ views, the with an overtly contemporary issue (resources, highest common denominator, and we are a good presumably especially water) behind it. It’s a lot, with complementary prejudices and beautifully literal work, but where are the more preferences! subtle metaphors? Does Venus Rising (Nudibranch While trying to think of what (new?) I could say Art Glass – Laurie Young and Christian Arnold) in this introduction, I went back and had a look at fit the bill, as it illustrates “the fragility of nature some of my books on glass from the 80’s and 90’s. and the detritus of man’s wasteful attitudes to The catalogues for International Directions in Glass Art the earth”? Perhaps. (1982) and the National Art Glass Collection (1995), When I first sawDale Roberts’s ironically named and the excellent book Australian studio glass: the Life, I went zooming off to the artist’s statement movements, its makers and their art1 (1995) were useful looking for sinister connections with terrorism or references. I wanted to see what had changed over starvation. His statement: “Death equals change; the years of the Ranamok (originally RFC) prize, change equals life” seems a more basic view of because I like change. And I’d love to say here life and death. And I’ll resist the critic’s tendency that I saw a logical evolution and development of to post-hoc psychological analysis of the artist’s expression and ideas. I saw some development, motives and just assume he means what he says. some change, but less than I expected, or indeed Perhaps the best example in the show of an issue hoped for. Perhaps the time was too short. or influence that certainly wasn’t there in the Much, if not all I saw in those and other books, 80’s is Faye Peng’s absolutely wonderful reference would not look out of place in a show now. to “manga and comics” in her work 37°C. Indeed, They were good then; they’re good now. So what’s using glass as a canvas did not seem very common missing now? Where is the good and new? in the earlier years. What did I want to find in Ranamok 2007? Where are the indigenous influences, Australian Some things I was hoping to see are present now. Aboriginal or Maori? A couple of the works that There is some more whimsy, some humour. didn’t make the cut drew on Maori influences, Iris SiYi Shen’s small but elegant Snuff Bottles, but no entries, so far as I can tell, deal in any way Brendan Scott French’s funny but edgy Predator - all with Aboriginal themes or issues. And there are

4 1 Noris Ioannou, Roseville East, Craftsman House in association with G+B Arts International indigenous glass artists. Why no entries I wonder? innovation, and some just passed. Looking at the Similarly, expressions of varied cultures are also works selected for showing, I leave you to guess absent. Are certain cultures (Anglo? European?) what was in the latter category! For the creators of more interested in glass than others? those not selected, there is something to dwell on. Looking back to my 80’s and 90’s sources, the When I read these words again I decided other missing theme is mixed media. It’s in this that my impressions of this year’s Ranamok come show in a minor way (glass fish plus seaweed, across a little more negative than they were meant glass water droplets plus tin and monofilament) to. All the works in this show are really good and but to me the media other than the glass in these several are outstanding (and I’m writing this before works is in a supporting, nowhere near equal role. we have done the final round of judging and Are we also shy of mixing media in Australian and selected the winner). I love Brent King’s beautiful New Zealand glass in general? Mixing it to a high reclining mask that is Visage 2, borrowing as enough quality anyway. it does from earlier art movements. Beacon, Looking back over the finalists again, we have Adam Sinclair’s neoclassical tower, seems to a high proportion of works either very directly exude colour and light. I’ve already mentioned based on “real things” (the fish, the gumboots, Faye Mo’s 37°C, but it’s worth complimenting the shower, the knife and steel, the shells atop the again for its exploration of the influence of manga. lampwork, the skull, the green native clematis) or Rob Stewart’s Language and Meaning seems to clearly influenced by them (faces on panels, a leaf, me to draw on the clarity of glass to contrast with bones and back bones). I like the literal re-creation and strengthen the theme that words and their of something in glass that plays on certain qualities meaning are often confused and dependent of glass (solidity, inflexibility, fragility) as compared on perspective. The chatter that is intrinsic to to that of the original object (think gumboots: Ebony Addinsall’s Connections in White is both pliable, rubbery, bouncy). These works are really elegant and whimsical. While I commented good, but works based on pure abstraction seems above on the relative shortage of abstract works, less present this year than at other times. Bethany Wheeler’s Billow abstracts landscape and culture in a beautifully balanced (in every And now declaring another personal preference, sense) work. In contrast, Evelyn Dunstan’s Ranamok of recent years has contained less blown Ngahere Karauna (Forest Crown) is delightfully still orthodox (my word) works. We have moved on life, with the climbing clematis forming a fragile, from the vessel fixation! delicate and detailed forest vase. And to close on Now, back to the good works we rejected. I think a very high note, Matthew Ryan’s Milk and Honey some of our leading glass artists are firmly of the #3 and Milk and Honey #4 are simply exquisitely view that when you are onto a good thing, stick to balanced architectural and design statements. it, and that isn’t per se bad. It’s just that Ranamok So it was a good year. is about innovation in an artist’s body of work (to Frank Howarth paraphrase the entry criteria). This year we saw a Ranamok Glass Prize Judge lot of work that was really good but was essentially 2006 and 2007 the same as we have seen for a while. Some works just failed the criterion of demonstrated July 2007

5 Ebony Addinsall Mile End, SA

Connections In White It is the way that we connect and Blown glass, murrini, wheel cut, communicate with the people hand polished around us that fascinates me. The Connections Series explores the 58 H x 133 W x 10 D cm concept of human interaction within the context of contemporary still life.

6 Photographer: Michael Kluvanek

Kate Baker Clovelly, NSW

Lotus Dreaming 1 Urban scapes depicting facets Kiln formed glass of crowds and architecture reflect environments created in the pursuit 13 H x 45 W x 45 D cm of modern societies. Contrasted each, 2 pieces against the traditional and highly decorative motif of the lotus flower, this new body of work seeks to question the paradoxes inherent in our quest for progress and inspiration.

Photographer: Greg Piper

Romani Benjamin Hampton, VIC

Spine Exploring the notion of uniqueness Lost wax cast glass and repetition within a series. 12 bone-like pieces cast from 16 H x 32 W x 20 D cm the same design, with differences each, 12 pieces introduced by the lost wax casting process, slight gradation in colour, and chance. The intimacy of the small object, when repeated, creates a larger composition, creates growth.

10 Photographer: Screaming Pixel

Claudia Borella Durie Hill, Wanganui, New Zealand

Shift Following on from the thematic Fused and sandblasted glass and abstract landscape expressions created for my solo exhibition 48 H x 144.4 W x 2 D cm ‘A Passage from New Zealand’, this latest work Shift explores the metaphysical qualities of lunar movement and the connections with time and tide specific to my New Zealand migration infusing newfound cultural perspectives.

12 Photographer: Andrès Salinas

Anne Clifton West Perth, WA

Border Demarcation A geographical view of political Pulled canes, sculpted objects demarcation. A result from a and cast furnace glass decision made as to what was considered waste or unnecessary in 30 H x 35 W x 5 D cm order to protect what is necessary.

14 Photographer: Adrian Lambert

Hilary Crawford Stepney, SA

scorched These forms are essentially Blown murrini forms, small fragments of sky which are machine ground magnified. The depths and densities of the colour is utilized to reflect 15 H x 17 W x 18 D cm the optical shifting that exists in each, 2 pieces the atmospheric particles to create what we see as the sky.

16 Photographer: Grant Hancock

Mike Crawford Piha, Auckland, New Zealand

bones These works are a homage to bone, Cast glass to the animal that provided it and to those that worked it into hook 6 H x 20 W x 6 D cm and spear. In glass the cast off parts each, 2 pieces of bone illuminate the fragility of life and the sacrifice that is made for human sustenance and existence.

18 Photographer: Mike Crawford

Evelyn Dunstan Pakuranga, Manukau, Auckland, New Zealand

Ngahere Karauna (Forest Crown) The native Clematis climbs to Lost wax, kiln cast as one piece, the top of the forest to display its Gaffer crystal glass, cold worked, crowning beauty, supported by and engraved and acid etched dependant on the strength and survival of the fauna below. 35.5 H x 30 W x 30 D cm The crown of the forest or a vase made of flowers? With the major structure gone the entwining network becomes the strength. Change and adjustments in nature and human nature.

20 Photographer: Annuskha Dunstan

Jaymz Edmonds Kerikeri, Northland, New Zealand

If it weren’t for your gumboots Icons of New Zealand rural Cast glass society, our gumboots chronicle the passage of time… accumulating 14 H x 60 W x 18 D cm on the back porch.

22 Photographer: Lee Brogan

Benjamin Edols and Kathy Elliott Brookvale, NSW

Reclining Leaf For many years we have worked Hot formed glass, wheel cut with botanical forms. With this new series we have looked at the 14 H x 86 W x 22 D cm simplicity and beauty of silhouette, form, colour and texture of the leaves that are everywhere around us and we sometimes pause to see.

24 Photographer: Greg Piper

Judi Elliott Wanniassa, ACT

Corrugated Architecture surrounded The Haze is not unlike the by Heat Haze, in the Landscape. corrugation of the architecture. Kiln formed glass They blend and create a unity, 73.5 H x 69.25 H x 1 D cm building and environment.

Photographer: Rob Little

Vicki Fanning Matakana, Warkworth, New Zealand

Recipe for Disaster-Glass Knife Steps 1 – 11 and Steel - Gather 6 Birds that have flown in the window Glass beading - Break into the equation one mirror for 7 years bad luck

35 H x 5 W x 2 D cm - Using a microscope, find several diseases to be introduced one by one 2 pieces - Include 5 bottles of wine, soak for 9 hours for full effect - With glass shard puncture rubber container for draining purposes NOTE: In doing this be careful not to cut yourself - Remember to be aware of measurements, not relying on the glass to be half full - Clean oven door for monitoring visibilities - Pull curtains and blinds to protect you from prying eyes and to turn off outside elements - Ignite with Molotov cocktail - In case of crisis, break glass, turn on emergency switch and vacate immediately - When preparing oneself for the occasion, remember full length mirrors can distort body shape

Recipe for Disaster-Glass Knife and Steel is a quirky and playful representation of the seedy side and the unglamorous role that glass plays in our every day. This work acknowledges the material of glass as not only a seductive medium for artistic use, but for its practical yet sometimes detrimental qualities.

28 Photographer: Emma Hopkins

Brenden Scott French Adelaide, SA

Predator – all things considered 2007 With this series of work I am Kiln formed, wheel engraved glass seeking to recover a balanced composition in which the predator 33 H x 86 W x 8 D cm can remain charming, personal and beautiful yet still have an engaging critical discussion of the brutality and consumption that is our material life.

30 Photographer: Brenden Scott French

Kevin Gordon Palmyra, WA

Sea Urchin In the design process of my work Blown, overlaid colour, diamond I look for how nature evolves. I wheel cut, sandblasting, cameo look for the underlying logic and carved and brush polished formulas that create nature’s designs. I use this by breaking down 27.5 H x 27 W x 27 D cm the design to the basic elements or Gaffered by David Hay fractals, which repeat in a form of mathematical formula, building up to make the whole design. Sea Urchin Tall Form Blown, overlaid colour, diamond wheel cut, sandblasting, cameo carved and brush polished

41 H x 20 W x 20 D cm

Gaffered by David Hay

Photographer: Adrian Lambert

Brent King Rowville, VIC

Visage 2 This work explores the notion of Cast glass the mask, the outward appearance. Via the glass medium, themes of 54 H x 28 W x 10 D cm individualism and ideology are questioned through the metaphoric and symbolic dialogue of the form.

34 Photographer: Andrew Barcham

James McMurtrie Pomonal, VIC

Fire = FIRE = Burning, Embers, Blown and cold worked glass, alloy Destruction, Ashes, New Life, Regeneration, Inspiration, Glass, 55 H x 50 W x 10 D cm Imagination, Passion, Nature, Luminosity, Glowing, Glass.

36 Photographer: Marcus Thomson

Karleena Mitchell Malvern, VIC

Vanitas Dutch vanitas paintings were Cast glass and moss reminders of death and the fragile nature of life, as is this. It is both 12 H x 63 W x 5 D cm universal and an intensely personal work. Vanitas paintings depicted a world of seductive beauty in the incipient stages of decay. That beauty exists in my life and I watch helplessly as wasting disease invades it. The process is physical, but the disease is of the mind. Nature reacts to both.

38 Photographer: David McCarthy

Peng (Faye) Mo Sylvania, NSW

37° C 37° C is not the temperature of the Fused glass panel with cigarette, but the warmth from powdered glass one’s palm, being reassured when one was feeling disturbed. Manga 55 H x 190 W x 6.6 D cm and Comics have had a very strong influence on me, such ‘picture- books’ are very inspirational as of their ability to effectively communicate their narrative through carefully positioned extracts of a story.

40 Photographer: Peng (Faye) Mo

Jane Morrisey Seaforth, NSW

Shower A “glass shower” to help raise Flame-worked glass, trace line, awareness of our resources. I feel plumbing hardware, tub and mirror we each need to take responsibility to conserve, recycle and be more 200 H x 50 W x 50 D cm creative with this precious natural resource.

Shower

Shower Shower of water Shower of thought Shower of restraint Shower of hope Shower of potential Shower of tomorrow Shower

42 Photographer: Stephen Cummings

Nudibranch Art Glass North Fitzroy, VIC

Venus Rising Exploring the dichotomy between Pâte de Verre, flamework the fragility of nature and the borosilicate glass, polished nautilus detritus of man’s wasteful attitude shell and fabric to the earth, frivolity and lightness play across the surfaces of this 61 H x 28 W x 18 D cm object, while we are reminded that Laurie Young and Christian Arnold life is ephemeral. Nestled snugly within this jumble of life and rusty decay, like a treasure, is the pearly shell of a nautilus, the age-old symbol of Divine Proportion.

Ode to the Sun King Natural forms are a never-ending Pâte de Verre, flamework source of inspiration and none borosilicate glass, polished nautilus more than the mysterious creatures shell and fabric found in the depths of the oceans. Influenced by the works of Ernst 83 H x 42 W 42 D cm Haeckel as well as the opulence of Laurie Young and Christian Arnold baroque and rococo traditions, it is a celebration of the beauty and complexity of the natural world.

44 Photographer: Andrew Barcham

Ruth Oliphant Pialligo, ACT

Morning in the City This piece is about the feeling of Fused glass the city on a cold and wet morning. It uses the marks, patterns, colours 37.5 H x 43 W x 5.5 D cm and textures of the city to express the mood of a moment.

Photographer: Stuart Hay (full shot); 46 Art of Light Photography (detail)

Graham Orridge Brunswick, VIC

Firestorm The flaked glass surface, the flame Cast and flaked glass inspired form, recall stories of friends working on the fire front. 84 H x 26 W x 9 D cm When the winds begin to roar, trees crackle and burst into flames. An uncontrollable firestorm has taken form out of the fire.

48 Photographer: Andrew Barcham

Wayne Pearson Lane Cove, NSW

Diptych: Children of the Batavia. We construct our landscape with Girl and the Barracuda and Boy our stories. With the wreck of the with the Sharks. Batavia, Europeans wrote their first Batavia series story on Australian soil. It is a story Bevelled glass reverse painted of heroic good and unimaginable 82 H x 82 W x 0.8 D cm evil and is contemporary with the great period of Dutch realism – inspiration for the figures used in this work.

50 Photographer: Marina Bishop

Lou Pendergrast Mathieson Takapuna, Auckland, New Zealand Lace Illusion Disc Reflection Cast glass, engraved Roses were always in bloom

41 H x 41 W x 2 to 6 D cm

52 Photographer: Haru Shamashima

Dale Roberts Maylands, SA

Life Death equals change, change Blown, sculpted glass equals life.

31 H x 10.9 W x 10.8 D cm

54 Photographer: Grant Hancock

Mathew Ryan Brookvale, NSW

Milk & Honey #3 My work is inspired by structure and Swedish overlayed, hot formed, pattern in nature. The investigation cold worked, fused and slumped into ordering principles and furnace glass geometry reveals nature’s sublime construction to the path of least 17 H x 57 W x 47 D cm resistance.

I am interested in the reflection, Milk & Honey #4 transmission, and the manipulation Swedish overlayed, hot formed, of light and material. cold worked, fused and slumped furnace glass

33 H x 58 W x 47 D cm

56 Photographer: Stephen Cummings

Iris SiYi Shen Blacktown, NSW

Snuff Bottles This fun series embodies the form Kiln formed, sandblasted glass of ancient Chinese glass snuff bottles. Here, the internal space 34 H x 30 W x 0.1 D cm is collapsed; the objects are rendered from 3D into a 2D surface, fused and sandblasted with traditional motifs.

This formal transformation illustrates slippage in visual readings between cultures, creating hybrid objects for the viewer.

58 Photographer: Iris SiYi Shen

Adam Sinclair Bastia Hill, Wanganui, New Zealand

Beacon The work Beacon uses colour, Cast glass light and refraction to create the impression of a lighthouse rather 40 H x 16 W x 16 D cm that concentrating on its formal structure. I have endeavoured to rely on the optical characteristics of glass and light to create the feeling of a lighthouse viewed at night from the sea.

60 Photographer: Leigh Mitchell-Anton

Jenny Smith Herne Bay, Auckland, New Zealand

Totem Tower #2 Abstracted patterns of nature are Cast glass and aluminium translated into glass to convey a sense of timeless strength. 1575 H x 35 W x 35 D cm

Photographer: Howard Williams

Rob Stewart Yarralumla, ACT

Language and Meaning The connection between language Blown glass, sandblasted and and meaning is often thought to be acid etched direct and absolute. In this work the two are connected by an indistinct 19 H x 47 W x 47 D cm overlapping that shifts with the viewer’s changing perspective.

64 Photographer: Stuart Hay

Jennifer Taylor Willunga, SA

Reliquary for Memories (a) Reliquary: a container for Kiln formed glass precious objects.

8 H x 8 W x 0.6 D cm Memories are stored throughout each, 5 pieces the body; embedded deep in blood and fat and fibre. When the time is ripe, something prompts these memories to percolate and rise, flitting in and out of consciousness. Shards form and reform, generating the new and bringing up the old.

66 Photographer: Grant Hancock

Bethany Wheeler St Kilda, VIC

Billow Within my glass sculpture Kiln formed and slumped glass I endeavor to communicate a feeling of variant space through 60 H x 30 W x 40 D cm areas of transparent mass and uniform surfaces and in turn the urban or constructed environment through geometric patterning and structure. The patterns are representative of aerial views of landscapes or longitudes and latitudes, a space defined by cultural intervention.

68 Photographer: Andrew Barcham

Finalists’ Biographies

Ebony Addinsall Public/Private Collections Claudia Borella Various private collections in Australia, Japan, Mile End, South Australia Durie Hill, Wanganui, New Zealand Singapore, Hong Kong, Germany, USA, Page 6 Argentina, Brunei and Saudi Arabia Page 12 Born Born 16 November 1985 Albury, New South Wales, Kate Baker 3 January 1971 Canberra, Australian Capital Australia Territory, Australia Clovelly, New South Wales Education Education 2007 Bachelor of Visual Arts (Hons), South Page 8 1995 Bachelor of Fine Arts (Glass) (Hons Australian School of Art, University of Born 1st Class), Canberra Institute of Art, South Australia, Adelaide SA 20 March 1973 Canberra, Australian Capital Canberra ACT 2006 Bachelor of Fine Arts, University of South Territory, Australia 1993 Bachelor of Fine Arts (Industrial Design), Australia, Adelaide SA Education Canberra University, Canberra ACT Last Group Exhibition 1999 Bachelor of Arts (Visual) (Hons 1st Class), 1993 Exchange student, European Institute of 2007 Launch 06, Glass Artists’ Gallery, Australian National University, Design, Milan Italy Sydney NSW Canberra ACT Last Solo Exhibition Last Group Exhibition 2006 A Passage from New Zealand, Bullseye Christian Arnold 2007 International Exhibition of Glass Kanazawa Gallery, Portland Oregan USA 2007, Kanazawa Japan North Fitzroy, Victoria Last Group Exhibition Public/Private Collections 2007 Changing Views, Galia Amsel & Claudia Page 44 Private collections in USA, Europe and Australia Borella, Koru Contemporary Art, Born Awards Hong Kong 30 January 1969 Heidelberg, 1998 Recipient, The Thomas Foundation Public/Private Collections Baden-Wurttemberg, Germany Travelling Research Grant Private collection of Sir Elton John, Education New York USA 2001-2002 Master of Arts (Fine Arts), Royal Romani Benjamin Toyama Institute of Glass Art, Toyama Melbourne Institute of Technology, City Japan Melbourne VIC Hampton, Victoria Douse Art Museum, Wellington NZ 2000-2001 Bachelor of Arts (Fine Arts), Royal Page 10 Corporate Collection of Merrill Lynch, Australia Melbourne Institute of Technology, Born National Gallery of Australia Collection, Melbourne VIC 28 November 1964 Melbourne, Victoria, Canberra ACT 1997-2000 Fine Art, Monash University, Australia Art Bank Collection, Australia Melbourne VIC Education Bullseye Gallery, Portland Oregon USA 1991-1993 Apprenticeship Scientific 2007 Bachelor of Fine Arts, Monash University, Wagga Wagga Art Gallery, NSW Glassblower, ASAG Rainer Arnold, Melbourne VIC Glasmuseet, Ebeltoft Denmark Melbourne VIC 1992 Bachelor of Jurisprudence, Monash 1990-1991 Photographic Studies, ACPAC, University, Melbourne VIC Institute of the Arts Collection, Australian National University, Canberra ACT Melbourne VIC Last Group Exhibition 1989-1990 Archaeology, Linguistics, Art Theory, 2002 Group Show (Painting), Latrobe Street Private collection of Mehoudar Raphael, La Trobe University, Melbourne VIC Gallery, Melbourne VIC Tel Aviv Israel Last Group Exhibition Private collection of Andy and Deirdre Plummer 2007 Encore, Glass Artists’ Gallery, Sydney NSW

70 Awards Hilary Crawford Mike Crawford 2005 Finalist, City of Whyalla Art Prize, Stepney, South Australia Piha, Auckland, New Zealand Whyalla SA 2003 Recipient, David Thomas Award, Douse Page 16 Page 18 Art Museum, Wellington NZ Born Born 2000 Finalist, RFC Glass Prize, Australia 13 May 1973 Sydney, New South Wales, 28 June 1979 Hamilton, New Zealand 1999 Finalist, RFC Glass Prize, Australia Australia Education 1998 Gold Medal and State Prize, Talente 1998, Education 2001 Bachelor of Design (Sculpture), UNITEC Munich Germany 2001 Bachelor of Visual Arts (Hons 1st Class), Institute of Technology, Auckland NZ Australian National University Institute of 1997 Recipient, The Kyohei Fujita Prize, Young Last Solo Exhibition the Arts, Canberra ACT Glass 97, Glasmuseet, Ebeltoft Denmark 2006 Mihi, Masterworks Gallery, Auckland NZ 1999 Bachelor of Design (Glass), University of 1997 Australia Council Project Development Last Group Exhibition South Australia, Adelaide SA Grant, Australia 2007 Reflect – Traditional Craft Practice in 1997-1998 Associate Designer Traineeship in Contemporary Object Making, Masterworks 1996 Finalist, RFC Glass Prize, Australia Glass Studio, JamFactory Contemporary Contemporary Applied Art Gallery, 1995 Institute of the Arts Acquisition Award, Craft and Design, Adelaide SA Ponsonby Auckland NZ Canberra ACT 1994-1995 Glass Major, Alberta College of 1992 Fondi Travelling Scholarship to attend Art + Design, Calgary Alberta Canada. European Institute of Design, Milan Italy Evelyn Dunstan President’s Honour Role Pakuranga, Manukau, Auckland, New Zealand Last Solo Exhibition Page 20 Anne Clifton 2007 A little piece of sky, Chappell Gallery, West Perth, Western Australia New York NY USA Born 6 April 1961 Auckland, New Zealand Page 14 Last Group Exhibition 2007 Selected Finalist, Hobart Art Prize, Education Born Tasmanian Museum & Art Gallery, 2006 Flame Beadmaking: Peter Viesnik, 9 June 1965 Pinjarra, Western Australia, Hobart TAS Auckland NZ Australia Public/Private Collections 2006 Fusing and Slumping Workshop: Education Art Gallery of South Australia, Adelaide SA Claudia Borella, Auckland NZ 1995-1999 Bachelor of Visual Arts (Ceramics), 2004 Cast Glass Course: Artstation, WA School of Visual Arts, Edith Cowan Canberra Museum and Gallery, Canberra ACT Auckland NZ University WA University of Canberra Art Collection, 2004 Metal Sculpture: Penrose, Auckland NZ 1995-1990 Diploma of Fine Arts (Sculpture), Canberra ACT Townsville College of TAFE, Private collections in Australia, USA, Europe 2003 Cast Glass, Slumping and Fusing Glass: Townsville QLD and Asia Uxbridge, Auckland NZ 1985 Bachelor of Fine Arts (Sculpture) (first Awards 2002 Stained Glass: Edgewater, Auckland NZ year), Ballarat College of TAFE, 2007 Honorary Diploma of The Jutta Cuny- 1981-2006 Ceramics and Pottery: various Ballarat VIC Franz Memorial Award institutions, Auckland and Hamilton NZ Last Group Exhibition 2007 Arts SA Established Artist Project 1979 Graphic Arts, Waikato Polytechnic, 2006 Colours of the West, Ayala Museum, Manila Assistance and International Hamilton NZ The Phillipines Presentation Grant Last Group Exhibition Awards 2006 Merit Award, Cowra Art Prize 2007 Object, Form Gallery, Christchurch Art 2003 Olssons Award for Production Glass Gallery, Christchurch NZ (Isolation Collobaration: Auglass 13th International Conference) 71 Finalists’ Biographies (continued)

Public/Private Collections Last Solo Exhibition 2002 Finalist, Ranamok Glass Prize, Australia Private Collections in New Zealand, Australia, 2007 Edols & Elliott, Kirra Gallery, 2001 Finalist, Ranamok Glass Prize, Australia England, France, Switzerland, Thailand and USA Melbourne VIC 1999 Finalist, RFC Glass Prize, Australia Awards Last Group Exhibition 1998 Recipient, RFC Glass Prize, Australia 2006 2nd Prize, NZSAG Biennial Conference 2007 Smartworks, Powerhouse Museum, 1995 Finalist, RFC Glass Prize, Australia Members’ Exhibition, Auckland NZ Sydney NSW 2004 Merit Award, 7th Maukau Sculpture & Public/Private Collections Vessel Exhibition, Manukau NZ Victoria and Albert Museum, London Judi Elliott England UK Wanniassa, Australia Capital Territory Jaymz Edmonds Kunstmuseum Dusseldorf, Dusseldorf Germany Page 26 Auckland Museum, Auckland NZ Kerikeri, Northland, New Zealand Born Toyama Institute of Glass Art, Page 22 28 September 1934 Armidale, Toyama City Japan New South Wales, Australia Born American Craft Museum, New York NY USA Education 12 July 1963 Otahuhu, Auckland, New Zealand Chrysler Museum of Art, Norfolk VI USA 1988 Pilchuck Glass School, Seattle WA USA Education Devonport Art Gallery, Devonport TAS 1985 Associate Diploma of Glass, Canberra 2005 Diploma of Applied Arts Visual, Powerhouse Museum, Sydney NSW School of Art, Australian National Northtech, Kerikeri NZ Queensland Art Gallery, Brisbane QLD University, Canberra ACT 2004 Pâte de Verre Intensives, Marea Timoko, National Gallery of Australia, Canberra ACT 1981 Graduate Diploma, Alexander Mackie Kerikeri NZ Corning Museum of Glass, Corning NY USA College of Advanced Education (now 2003 Oil Painting Worships, Israe Parone – Sydney College of Fine Art), Sydney NSW Brown, Paihia NZ Wheaton Art Museum of American Glass, Millville NJ USA Last Solo Exhibition 2002-2005 Applied Arts Visual, Northtech, 2005 Reflections of the Built Environment, Drill Hall Kerikeri NZ National Art Glass Collection, Wagga Wagga Art Gallery, Wagga Wagga NSW Gallery, Australian National University, Last Group Exhibition Canberra ACT The Art Gallery of South Australia, Adelaide SA 2007 Matariki Exhibition, Arts Promotion Trust, Last Group Exhibition National Gallery of Victoria, Melbourne VIC The Old Library Building, Whangarei NZ 2006 The Australian Show, Sandra Ainsley Public/Private Collections Glasmuseum Alter Hof Herding, Coesfeld-Lette Gallery, Toronto Canada Germany Private collections in New Zealand Public/Private Collections Parliament House Art Collection, Canberra ACT National Gallery of Australia, Canberra ACT Government House Collection, Sydney NSW Corning Museum of Glass, Corning NY USA Benjamin Edols Tasmanian Museum and Art Gallery, Hobart TAS Brookvale, New South Wales Kunstmuseum Dusseldorf, Dusseldorf Germany The Charles A Wustum Museum of Fine Arts, Kiddy Collection, London Page 24 Racine WI USA Australian National University, Canberra ACT Born Denver Art Museum, Denver CO USA Parliament House Art Collection, Canberra ACT 19 June 1967 Sydney, New South Wales, Carnegie Museum of Art, Pittsburgh PA USA National Gallery of Victoria, Melbourne VIC Australia Palm Springs Art Museum, Palm Springs The Art Gallery of Western Australia, Perth WA Education CA USA Queensland Art Gallery, Brisbane QLD 1992 Postgraduate Diploma, Canberra School Awards of Art, Australian National University, 2005 Finalist, Ranamok Glass Prize, Australia Bullseye Gallery, Portland OR USA Canberra ACT 2003 Finalist, Ranamok Glass Prize, Australia Awards 2005 Finalist, Ranamok Glass Prize, Australia

72 2005 Quick Response Grant to assist in Queensland Art Gallery, Brisbane QLD Last Group Exhibition publishing catalogue, Australia National Gallery of Australia, Canberra ACT 2007 Reflect, Masterworks Gallery, Auckland NZ Council, Australia Corning Museum of Glass, Corning Awards 2004 Quick Response Grant to exhibit in New York USA 2006 Luminous Glass, NZ Merit Award, Budapest Hungary, artsACT, Wheaton Art Museum of American Glass, Mazda Art Awards, Auckland NZ Canberra ACT Millville NJ USA 2003 Finalist, Ranamok Glass Prize, Australia National Art Glass Collection, Wagga Wagga Brenden Scott French 2002 Professional Development Grant, Art Gallery, Wagga Wagga NSW Adelaide, South Australia artsACT, Canberra ACT The Art Gallery of South Australia, Adelaide SA Page 30 2000 Finalist, RFC Glass Prize, Australia National Gallery of Victoria, Melbourne VIC 2000 Visual Arts Fellowship, artsACT, Glasmuseum Alter Hof Herding, Coesfeld-Lette Born Canberra ACT Germany 4 June 1969 Toowoomba, Queensland, Australia 1995 Finalist, RFC Glass Prize, Australia Parliament House Art Collection, Canberra ACT Education 2003 Bachelor of Visual Arts (Hons), 1988 Australia Council Travel Grant to USA Government House Collection, Sydney NSW Canberra School of Art, Australian Tasmanian Museum and Art Gallery, Hobart TAS National University, Canberra ACT Kathy Elliott The Charles A Wustum Museum of Fine Arts, 1999 Associate of Design, JamFactory Brookvale, New South Wales Racine WI USA Contemporary Craft and Design, Page 24 Denver Art Museum, Denver CO USA Adelaide SA Born Carnegie Museum of Art, Pittsburgh PA USA 1997 Bachelor of Visual Arts, Sydney College of 3 July 1964 Sydney, New South Wales, Australia Palm Springs Art Museum, Palm Springs the Arts, Sydney NSW Education CA USA Last Solo Exhibition 1991 Bachelor of Arts (Visual Arts), Canberra Awards 2007 Artefact of the Accident, JamFactory School of Art, Australian National 2005 Finalist, Ranamok Glass Prize, Australia Contemporary Craft and Design, University, Canberra ACT 2003 Finalist, Ranamok Glass Prize, Australia Adelaide SA Last Solo Exhibition 2002 Finalist, Ranamok Glass Prize, Australia Last Group Exhibition 2007 Edols & Elliott, Kirra Gallery, 2001 Finalist, Ranamok Glass Prize, Australia 2007 Little Drop of Kindness, CraftACT, Melbourne VIC 1999 Finalist, RFC Glass Prize, Australia Canberra ACT Last Group Exhibition 1998 Recipient, RFC Glass Prize, Australia Awards 2007 The Stephen Procter Fellowship 2007 Smartworks, Powerhouse Museum, 1995 Finalist, RFC Glass Prize, Australia Sydney NSW 2007 Resident Artist, Northlands Creative Public/Private Collections Glass, Lybster Scotland UK Victoria and Albert Museum, London Vicki Fanning England UK Matakana, Warkworth, New Zealand Kevin Gordon Kunstmuseum Dusseldorf, Dusseldorf Germany Page 28 Palmyra, Western Australia Auckland Museum, Auckland NZ Born Toyama Institute of Glass Art, 23 November 1970 Wellington, New Zealand Page 32 Toyama City Japan Education Born American Craft Museum, New York NY USA 2003 Diploma in Glass Design and Production, 25 October 1968 Bergen, Norway Chrysler Museum of Art, Norfolk VI USA Wanganui Polytechnic, Wanganui NZ Last Solo Exhibition Devonport Art Gallery, Devonport TAS Last Solo Exhibition 2004 Axia Modern Art, Melbourne VIC Powerhouse Museum, Sydney NSW 2007 Strip Jack Naked, AVID Gallery, Wellington NZ 73 Finalists’ Biographies (continued)

Last Group Exhibition James McMurtrie Private collection of Dr Alan Jaegar, Masters 07 2007 , Sabbia Gallery, Sydney NSW Pomonal, Victoria Melbourne VIC Public/Private Collections Private collection of Dr Andrew Churchyard, Page 36 Latrobe Valley Glass Collection, La Trobe Melbourne VIC University VIC Born Private collection of Mr and Mrs Kim Graves, Devonport Regional Gallery Glass Collection, 23 March 1970 Stawell, Victoria, Australia Melbourne VIC Devonport TAS Education Private collection of Mr and Mrs Ford, National Art Glass Collection, Wagga Wagga 1992 Bachelor of Arts, Chisholm Institute Waiheke Island NZ of Technology (Monash University), Art Gallery, Wagga Wagga NSW Awards Caulfield VIC Decorative Arts & Design Collection of the 2005 Montalto Sculpture Prize, Melbourne VIC 1987 VCE, Ballarat and Queens Anglican National Gallery of Australia, Canberra ACT 2004 Wallace Art Award, NZ Grammar School, Ballarat VIC Mobile Museum of Art, Mobile AL USA 2004 Montalto Sculpture Prize, Melbourne VIC Last Solo Exhibition Private Collection of Sir Elton John, USA/UK 2006 Our Land, Ararat Art Gallery, Ararat VIC 2003 Tom Malone Art Prize, Perth WA Awards Last Group Exhibition 2002 Sculpture by the Sea, Sydney NSW 2004 Finalist, Ranamok Glass Prize, Australia 2007 Castalia, Gallery O Contemporary Fine 2002 The George Baldessin Travelling 2003 People’s Choice Award, City of Hobart Art, Perth WA Fellowship Art Prize, Hobart TAS Public/Private Collections 2001 Finalist, Ranamok Glass Prize, Australia 2003 Finalist, Ranamok Glass Prize, Australia Private collections in Ireland, USA, China and 2002 Finalist, Ranamok Glass Prize, Australia Australia Peng (Faye) Mo 2001 Finalist, Ranamok Glass Prize, Australia Awards Sylvania, New South Wales 2000 Finalist, RFC Glass Prize, Australia 2006 Waterspout, Bronze Medal for installation Page 40 1999 Finalist, RFC Glass Prize, Australia in show garden, Melbourne International 1998 Finalist, RFC Glass Prize, Australia Flower and Garden Show, Melbourne VIC Born 23 August 1983 GuangZhou (Canton), 1997 Finalist, RFC Glass Prize, Australia GuangDong, People’s Republic of China 1996 Finalist, RFC Glass Prize, Australia Karleena Mitchell Education Three-times winner, Peoples’ Choice Award, Malvern, Victoria 2005 Bachelor of Visual Arts (Object Art and Ranamok Glass Prize, Australia Page 38 Design, Glass), Sydney College of the Arts, The University of Sydney, Born Sydney NSW Brent King 14 November 1950 Singapore, Singapore Last Group Exhibition Rowville, Victoria Education 2005 Undergraduate Exhibition, Sydney 2001 Bachelor of Fine Arts, Monash University, Page 34 College of the Arts, The University of Melbourne VIC Born Sydney, Sydney NSW 17 November 1986 Wellington, New Zealand 1980 Bachelor of Arts, Auckland NZ Education Last Solo Exhibition Jane Morrisey 2005-present Bachelor of Arts/Bachelor 2003 BMW Edge, Melbourne VIC, Seaforth, New South Wales of Visual Arts, Monash University, Last Group Exhibition Melbourne VIC 2005 SOCA Gallery, Auckland NZ Page 42 Awards Public/Private Collections Born 2006 Blackwood Crystal Prize, Melbourne VIC Private collection of Ms Julia Sant-Maire, 23 January 1964 Sydney, New South Wales, Melbourne VIC Australia

74 Education Graham Orridge Last Group Exhibition Black and White Show 1994 Associate Diploma of Art (Glass), Brunswick, Victoria 2007 , Glass Artists’ Canberra School of Art, Gallery, Sydney NSW Page 48 Australian National University, Born Canberra ACT Lou Pendergrast Mathieson 1987 Bachelor of Science (Architecture), 8 February 1968 Launceston, Tasmania, Australia University of New South Wales, Education Takapuna, Auckland, New Zealand Sydney NSW 2007 Master of Fine Arts, Monash University, Page 52 Melbourne VIC Last Group Exhibition Born 2007 Annual Tutors’ Exhibition, Ku-ring-gai Art Last Solo Exhibition 20 January 1960 Auckland, New Zealand 2007 Glass a Manifestation of Light, Masters Centre & Gallery, Roseville NSW Education Show, Greenhouse Gallery, Public/Private Collections 2000 Postgraduate Secondary Teaching Melbourne VIC The Elice Haverty and Dr. Rhodes Haverty Diploma, AUT University, Auckland NZ Last Group Exhibition Collection of International Contemporary 1998 Bachelor of Arts (Glass Major) UNITEC 2007 Generation M, Kirra Gallery, Glass, USA Institute of Technology, Auckland NZ Melbourne VIC Many private collections Last Solo Exhibition Public/Private Collections Awards 2003 Visible Trace, Masterworks Gallery, Various private collections 1999 The inaugural Emerging Artist Award, Auckland NZ Awards The Australian Association of Glass Artists Last Group Exhibition 2002 Pilchuck Partnerships Scholarship, 1996 The Winston Churchill Memorial Trust 2007 Cloth Variations, Statements Gallery, Monash University, Melbourne VIC Fellowship Napier NZ 1994 The Mitchell, Guirgola and Thorpe Awards (MGT) Award for Outstanding Work in Wayne Pearson 2002 Merit Award, Norsewear Art Award, 3D, Canberra ACT Lane Cove, New South Wales Hawke’s Bay NZ Page 50 Ruth Oliphant Born Dale Roberts Pialligo, Australian Capital Territory 14 July 1949 Coonamble, New South Wales, Maylands, South Australia Page 46 Australia Page 54 Education Born Born 2007 Master of Visual Arts, Sydney College of 12 December 1977 Canberra, Australian Capital 5 January 1972 Adelaide, South Australia, the Arts, Sydney’ University, Sydney NSW Territory, Australia Australia 2004 Master of Studio Arts, Sydney College of Education Education the Arts, Sydney University, Sydney NSW 2007 Bachelor of Visual Arts, Australian 2002 Bachelor of Applied Arts (Ceramics and National University, Canberra ACT 1983 Bachelor of Education (Visual Arts), Glass) (Hons First Class), School of Art, 2003 Apprenticeship in Traditional Stained University of New South Wales, University of South Australia, SA Sydney NSW Glass restoration and constructions, Last Solo Exhibition Melbourne VIC 1971 Diploma of Art Education, AMTC, 2007 Past the Horizon, Artistic License Gallery, 2003 Certificate 3 in Furnishing (Leadlighting Sydney NSW Adelaide SA and Stained Glass), Holmesglen TAFE, Last Solo Exhibition Last Group Exhibition Melbourne VIC 2006 Avalon, Touch, Icarus and the Moon, 2007 Studio Works, JamFactory Contemporary Glass Artists’ Gallery, Sydney NSW Craft and Design, Adelaide SA

75 Finalists’ Biographies (continued)

Public/Private Collections Last Solo Exhibition Adam Sinclair New Glass by Matthew Ryan Bullseye Gallery, Portland OR USA 2006 , (represented Bastia Hill, Wanganui, New Zealand School of Art, University of South Australia SA by Blowfish Glass) Bathurst Regional Art Page 60 Awards Gallery, Bathurst NSW 2003 Alumni Association Certificate of Last Group Exhibition Born Outstanding Achievement, University of 2007 Castalia, Gallery O Contemporary Fine 13 May 1969 Dunedin, New Zealand South Australia SA Art, Perth WA Education 2003 Design Award, Starvedog Lane Wines, Public/Private Collections 2005 Whanganui UCOL Summer School Adelaide SA Private collections in Australia and the Bronze Casting Workshop 2003 Pilchuck Glass School Full Scholarship, United Kingdom 2004 Whanganui UCOL Summer School Washington USA Awards Printmaking Workshop 2007 Finalist, Tom Malone Prize, Art Gallery of 2003 Whanganui UCOL Summer School Glass Western Australia, Perth WA Casting Workshop conducted by Matthew Ryan 2006 People’s Choice Award, Willoughby Art Richard Whiteley Brookvale, New South Wales Prize, Chatswood NSW 2002 Whanganui UCOL Summer School Glass Page 56 Casting Workshop conducted by Irene Frolic Born Iris SiYi Shen 2001 Diploma in Teaching and Learning, 23 January 1974 Sydney, New South Wales, Blacktown, New South Wales Christchurch College of Education Australia Page 58 1997 Postgraduate Diploma in Computer Aided Education Design, Christchurch Polytechnic 2002 Glassblowing Journeymanship with Neil Born Wilkin and Peter Bremers, Frome UK 20 August 1986 GhangZhou, Guang Dong, 1996 Bachelor of Arts, University of Otago NZ 2002 Furnaceman/furnace and glass People’s Republic of China 1993 NZCE in Mechanical Engineering, equipment building Journeymanship Education Otago Polytechnic NZ with Jacob Neilsen and Bjorn Svensson 2007 Session 3 – Look Around, Summer 1985 Otago Boys’ High School of Glabu AB Glasbruksutrustningar, Workshop, Pilchuck Glass School, Last Group Exhibition Dalby Sweden and UK Seattle WA USA 2007 Wanganui Glass Art Invitational, 2001-2003 Glassblowing Journeymanship to 2005 Bachelor of Visual Arts (Glass), Sydney Wanganui Community Arts Centre, Bath Aqua Glass, Bath UK and Bristol College of the Arts, University of Sydney, Wanganui NZ Blue Glass, Bristol UK Sydney NSW Awards 1993-1995 Indentured Apprenticeship, Paddy Last Group Exhibition 2003 Merit Award, Whanganui Arts Review, Robinson and Neil Finn, Finglinna Studios, 2007 Utility – Feast and Famine, Sydney College Whanganui NZ Sofala NSW and Finns Stained Glass, of the Arts Front Gallery and Sydney Design Week, Sydney NSW Mortdale, NSW Jenny Smith 1990-1992 Flat Glass and Glazing Trade Awards Certificate, TAFE, Regents Park NSW 2007 Pilchuck Glass School Scholarship, Herne Bay, Auckland, New Zealand 1990 Colour and Design Certificate, TAFE, Seattle WA USA Page 62 Meadowbank NSW Born 1987-1992 Indentured Apprenticeship, 29 June 1947 Tuatapere, Southland, Spectrum Stained Glass, New Zealand Concord West NSW

76 Education Jennifer Taylor Public/Private Collections 2005 Colin Reid Workshop, Wanganui NZ Willunga, South Australia National Art Glass Collection, Wagga Wagga 2003 David Reekie Workshop, Auckland NZ Art Gallery NSW Page 66 2002-3 Glass workshops, Artstation, Private collections in Saudi Arabia, Nigeria, Auckland NZ Born Belgium, USA, Japan and Australia 21 February 1962 Rockhampton, Queensland, 1978 Bachelor of Law, Auckland University, Australia Auckland NZ Education Laurie Young 1970 Master of Arts (Hons), Auckland 2006 Bachelor of Visual Arts (Glass), University North Fitzroy, Victoria University, Auckland NZ of South Australia, Adelaide SA 1968 Bachelor of Arts, Otago University, Page 44 1990 Graduate Diploma of Education, Dunedin NZ Born Queensland University of Technology, 16 January 1958 San Jose, California, Last Solo Exhibition Brisbane QLD 2007 New Glass, Milford Galleries, United States of America 1983 Bachelor of Science, University of Queenstown NZ Education Queensland, Brisbane QLD Last Group Exhibition 2005 Bachelor of Applied Arts (Glass) (Hons), Last Group Exhibition 2007 Variations, Statements Gallery, Napier NZ Monash University, Melbourne VIC 2007 Helpmann Academy Graduate Exhibition, 1995 Bachelor of Social Work, University of Public/Private Collections Drill Hall, Adelaide SA Private collections in New Zealand, Australia, Melbourne, Melbourne VIC Public/Private Collections USA and France 1990 Advanced Certificate of Residential Private collections in Australia Awards and Community Service Intellectual Awards 2006 People’s Choice Award, NZSAG Disability Studies 2006 Chancellor’s Letters of Commendation Members’ Exhibition, Wanganui NZ 1978 Bachelor of Fine Art (Studio Art), List, UniSA School of Art, Adelaide SA 2005 Finalist, Ranamok Glass Prize, Australia University of Hawaii, Hawaii USA 2004 & 2005 Dean’s Merit List, UniSA School Last Group Exhibition 2004 Honourable Mention, Blown Away: of Art, Adelaide SA New Forms in Glass, PostPicasso.com, 2007 Encore, Glass Artists’ Gallery, 2004 Monash overseas study grant to study in Richmond VI USA Sydney NSW Prato, Italy 2004 People’s Choice Award, NZSAG Public/Private Collections 2003 Dean’s Award for Achievement, Monash Members’ Exhibition, Auckland NZ Private collections in USA, Australia and University, Melbourne VIC Great Britain Awards Rob Stewart Bethany Wheeler 2004 Axess Glass Award, Melbourne VIC Yarralumla, Australian Capital Territory St Kilda, Victoria 2004 Outstanding Applied Arts Student Page 64 Northcote Pottery, Melbourne VIC Page 68 Born Born 6 January 1967 Eastleigh, Hampshire, England, 29 April 1979 Melbourne, Victoria, Australia United Kingdom Education Education 2003 Master of Fine Arts (by Research – Glass), 2007 Diploma of Visual Arts, Canberra School Monash University, Melbourne VIC of Art, Canberra ACT Last Group Exhibition 1988 Bachelor of Arts (Philosophy, Politics, 2006 Generation M, Kirra Gallery, Federation Economics) (Hons), Oxford University, Square, Melbourne VIC England UK

77 Glossary of Glass Terms

Acid Etched A process of producing matt Cane Rods of glass usually formed by drawing Gaffer (English: corruption of ‘grandfather’) surfaces by the use of various mixtures of out long lengths of glass from large gathers on The master craftsperson in charge of a chair chemicals based on hydrofluoric acid. a punty iron. Bundles of canes are often fused or team of hot glass workers. together and drawn out again to a suitable Annealing Controlled cooling of a glass article diameter before being cut into small decorative Gaffer Glass A New Zealand company that in order to remove any strains that may have pieces such as millefiori for picking up into manufactures coloured crystal and blowing otherwise been “frozen” in the glass by rapid paperweights. They are also cut into lengths glass that is compatible with the majority of cooling during shaping. and placed against the side of an open mould glasses used through out Australasia. for picking up onto a gather which is marvered Blown Glass The technique of forming an and pulled out to make rods used for opaque Glass Blowing The shaping of molten glass by object by inflating a gob of molten glass twists and filigree work. air pressure and manipulation. gathered on the end of a blowpipe. The gaffer blows through the tube, slightly inflating the Carved A term commonly used to describe Glory Hole The furnace used to reheat glass gob which is then manipulated into the required glass which has been cut or abraded into shape on the blowpipe or punty is a Glory Hole. form by swinging it, rolling it on a marver, or from a solid block. It is also one that can be shaping it with tools or in a mould; it is then used to refer to blown or cast glass which has Hot Glass A generic term for glass working inflated to the desired size. been further shaped by cutting, abrading, from the furnace. nibbling and/or grinding. Blowpipe A hollow, tapered metal tube, usually Hot worked or sculpted A technique in 1.3m long. The craftsperson gathers molten Casting A process of shaping molten glass by which molten glass is gathered directly from glass on the thicker end of the pipe and blows pouring or melting it into a mould. the furnace on a punty and manipulated using through the narrow end to inflate and shape specialised tools. the glass. The blowpipe comes in different sizes Cold Worked An all-embracing term for the depending on the height of the worker, their various techniques such as engraving, grinding, Inclusion An element of glass or a foreign body strength, and the size of the piece to be blown. carving, cutting etc carried out when the glass enclosed in glass. is cold. Borosilicate Glass A glass made from both Kiln Forming The process of fusing or shaping silica and boric oxide usually manufactured for Intaglio engraving This refers to any form of (usually in or over a mould) by heating it in laboratory ware, domestic cooking ware and engraving which is cut or incised; it is now also a kiln. for many kinds of technical purposes where generally accepted as referring to all work which Laminated The joining together of layers of a relatively high resistance to both heat and is modelled into the glass as negative form, glass either by fusing or by the use of adhesives. thermal shock is required. It is also used for giving an impression of actually standing out as low expansion-type glasses required to bond positive relief. It is usually carried out by using a Lampworking A process of forming glass to metals and for glasses with high degrees of small lathe equipped with copper wheels which articles from glass tubing and rod by heating chemical resistance. Ideal for lampworking. are fed with a mixture of oil and abrasives. in a flame from a torch. Lampworking is also called flame working. Bullseye Glass The brand name of a glass Furnace The primary heating unit from where manufactured in the USA for the specific the glass blower gathers molten glass. Lead Glass Glass that contains a high purpose of kiln working. The majority of percentage of lead oxide. It is relatively soft Bullseye glass is compatible, meaning that it Fusing Heating pieces of glass in a furnace or and has a high refractive index. Ideal for has the same or a similar rate of expansion. kiln until they bond. wheel cutting.

78 Lost Wax A technique adapted from Sandblasting A surface matting technique to metalworking. The object to be made in glass achieve texture and decoration or to re-define is modeled in wax and encased in a plaster a shape by sandcarving. An air compressor is mix. The wax is melted out of the plaster used to propel sand or grit onto the object or thus forming the mould into which molten or surface. Pioneered by Val St Lambert in 1907. powdered glass is added. After annealing, the mould is removed from the glass object which Slumping A process, generally worked in a kiln, is then cold finished either by grinding, fire or which uses heat and gravity to change the shape acid polishing or sandblasting according to the of a three dimensional form. surface required. Vitreous Of, relating to, or like glass, obtained Marvering Rotating hot glass on a polished from glass, resembling glass in some property, or iron or marble slab to cool, control and centre having a glass-like appearance. the gather on the blowpipe to bring it to better workability. Wheel Cut The use of various types of abrasive wheels to produce a wide range of decorating Melt Molten glass obtained by melting a batch facets and cuts. of raw materials at one time.

Murrini The English adjective “murrhine” and the Italian adjective “murrino” are sometimes applied to mosaic glass and similar objects. When used as a noun, murrina refers to a slice of a complex cane, while a murrino is an insert of multicoloured glass embedded in a glass object.

Overlay A layer of glass gathered over a layer of a different coloured glass.

Pâte de Verre (French: glass paste) A material produced by grinding glass into a fine powder and adding a binder to create a paste.

Polishing A cold working process where the glass object is smoothed either by holding it against a rotating wheel fed with a fine abrasive, by immersing the glass in acid or by a hot flame.

Punty A metal rod for gathering and manipulating the hot glass. It is usually used to remove the partly formed glass object from the blowpipe and for bringing ‘bits’ of hot glass to the glass blower to be applied as handles, prunts or other decoration to a piece.

79 The Judges

Frank Howarth Ivana was a Judge of the RFC Glass Prize (now Ranamok) eleven years ago and has been Frank Howarth is passionate about the actively involved in Ausglass conferences as natural world, and about Sydney and its co-ordinator of exhibitions and workshops. cultural institutions. She has presented at international glass 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 Gillian McCracken of the Royal Botanic Gardens and Domain Trust. In February 2004 he took up his current Gillian McCracken is a freelance curator role as Director of the Australian Museum. and writer. She has been a participant in The use of natural science and cultural contemporary craft practice for over 30 years, collections to inspire people about the natural initially as a ceramic artist, and through active world and its conservation attracted Frank to leadership in major craft organizations in working with botanic gardens and museums. NSW and nationally. Frank is a keen bushwalker, cyclist and collector She joined the Australia Council in 1986 and of contemporary Australian and New Zealand worked for nine years in a senior policy position glass art. with special reference to arts marketing, and support for contemporary craft practice and practitioners through a targeted range Ivana Jirasek of programs. Ivana Jirasek is Co-ordinator at Artsuppport Her curation has covered many aspects of Australia, an initiative of the Australia Council Australian craft practice, including glass and for the Arts to increase cultural philanthropy. textiles, and Australian social history. She curated Material Instincts for Ausglass at She had previously worked on Craft Policy for the Manly Regional Art Gallery and Museum the Australia Council after a long involvement in 2005 and wrote the catalogue essay for the with the contemporary craft community as 2005 Ranamok Glass Prize. curator and writer. She has worked for Craft Queensland, and was Contemporary Craft Gillian and her husband have a large collection Curator for a partnership of the Centre for of contemporary Australian ceramics and Contemporary Craft (now known as Object), Aboriginal art. Wollongong City Gallery, University of Wollongong and the NSW Regional Galleries Association. Andy Plummer She catalogued the National Art Glass Andy Plummer co-founded the Ranamok Collection at Wagga Wagga Art Gallery, Glass Prize with Maureen Cahill. He and his and worked on glass projects for a wife, Deirdre, collect contemporary glass partnership involving the National Gallery from Australia and New Zealand. of Australia, Curator Geoffrey Edwards and The Thomas Foundation.

80 Ranamok 2007 Tour Dates

25 August – 23 September 2007 19 – 23 November 2007 23 May – 6 July 2008 Canberra Glassworks Level 3 Display Area Bathurst Regional Art Gallery 11 Wentworth Avenue Queensland Parliament House 70-78 Keppel Street Kingston ACT 2604 Brisbane QLD 4000 Bathurst NSW 2795 www.canberraglassworks.com 0419 493 345 www.bathurstart.com.au (02) 6260 7005 (03) 6331 6066 13 April – 18 May 2008 2 October – 21 October 2007 Redland Art Gallery, Cleveland Foyer Cnr Middle and Bloomfield Streets Angel Place Office Tower Cleveland QLD 4163 123 Pitt Street www.more2redlands.com.au/more2/ArtGallery/ Sydney NSW 2000 (07) 3829 8899 www.artandabout.com.au (02) 8248 1268 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 2007 catalogue essay Andy Plummer Frank Howarth Maureen Cahill Jane Burns AM 2007 Craft Arts International essay Damien Clarke Noris Ioannou Deirdre Plummer Ranamok 2007 design and production Dupree Design Group Fundraising Andy Plummer Administration Glen Loxton Underwriting Whitehaven Coal Limited Elizabeth MacDougall Deirdre Plummer

Design | Dupree Design Group www.dupree.com.au Print | Lindsay Yates & Partners Pty Ltd 81 RANAMOK GLASS PRIZE 2007

.com by Cobi Cockburn by Cobi www.ranamok Shifting Fields Shifting Ranamok Glass Prize Winner 2006 Winner Glass Prize Ranamok Photography by Christian Mushenko Photography