for architectural purposes. They saw the problems I had with compatible glass and a limited colour palette and began to see a serious way of entering the studio glass movement with their product.’ Bullseye’s involvement with glass artists stretches around the world, from Portland in Oregon to Caith- ness in Scotland. They became involved in education through a range of programs for artists, archi- tects and teachers at their factory site workshops, while the Bullseye Connection gallery, which from 1995 had operated as part of the resource centre, was opened in 1999 offering solo and thematic exhibitions, and exhibitions that reflected their workshop program. In 1998 they established the first International Young Artists in Glass residencies with four Australians, Claudia Borella, Jessica Loughlin, Honorary Lifetime Membership Award: Giles Bettison and Mel George. Bullseye’s connection with Austra- BULLSEYE GLASS COMPANY lia was established mainly through T the GAS conference hosted Moje’s interest in providing oppor- by Ausglass in Adelaide in tunities for colleagues and gradu- A May, 2005 Lani McGregor ates to travel, study and exhibit and Daniel Schwoerer of Bullseye overseas, that were continued later Glass Company will receive an by his successor Stephen Procter, Honorary Lifetime Membership and Jane Bruce. In turn Bullseye Award for outstanding service to became involved in supporting pro- the Glass Art Society. This com- grams in , such as the pany has a long history of working Latitudes workshops and exhibi- with glass artists to develop its pro- tions of 1995 and 1997, organised ducts and, through their work, to at the Canberra School of Art by demonstrate how they can be used. Kirstie Rea, where participants It also has an exemplary record of experimented with the array of supporting experimental projects options now possible. Kirstie Rea and emerging artists. and Scott Chaseling continued Bullseye was set up in Portland, their own explorations of these new Oregon, in 1974, by glassblowers blowing and torchwork. Bullseye possibilities, and became well- Daniel Schwoerer, Ray Ahlgren kept closely involved with the needs known in the 1990s for their inter- and Boyce Lundstrom. Schwoerer of the marketplace through direct national “Roll-up” workshops. In had studied glass as a graduate links with the art world and artists fact, just before the GAS confer- assistant to at the who have worked with them over ence in Adelaide, Bullseye will run University of Wisconsin during the the years include Dante Marioni workshops with a small group of 1960s as well as doing graduate and . In the early 1980s Australian painters experimenting work in engineering. Although they German-born Australian, Klaus with “painting on glass”, coordi- were glass blowers, they wanted Moje, wanted to make kiln-formed nated by Gabriella Bisetto from to support their art through an mosaic glass and needed colours the University of South Australia. income-generating industry and that fused compatibly. Moje met Bullseye, in fact, operates some- saw a need for a manufacturer of Lundstrom at the Pilchuck Glass what as a studio workshop itself, flat glass. Schwoerer explains, ‘In School and discovered they had with teams that gather molten glass the early ‘70s the few American a mutual interest in the develop- in stainless steel ladles by hand, companies making opalescent glass ment of what became Bullseye’s and dump it onto the presses for were back-ordered for at least two Tested Compatible sheet . hand-rolling into sheets like molten years and weren’t taking on new This liaison had far-reaching reper- dough. The recipes for glass are customers.’ In the following years cussions, especially so for Austral- the subject of extensive personal Ahlgren and Lundstrom moved on ians, because Moje moved to teach and specialist research, yet the com- and Lani McGregor, now artistic at the Canberra School of Art in pany’s orientation, as with those director of the Bullseye Connec- 1982: ‘Bullseye made hand-rolled who use its glass, is one of creative tion gallery, joined Schwoerer as artistic endeavour associated with partner in 1985. practical planning for viability. Bullseye’s specialty is kiln glass and Bullseye are to be warmly congrat- the company continues to work ulated on this well-deserved award. towards an integrated system of Grace Cochrane soda-lime glasses: frits, powders, Grace Cochrane is Senior Curator of sheet, stringers and billets, and a Australian decorative arts and design at “perfect clear sheet”. They have the Powerhouse Museum in Sydney. developed a range of over 1,000 This article is adapted from her essay, products not only for flat and fused ‘Seat-of-the-pants to state-of-the-art’, in kiln-formed glass, but also now for the forthcoming book, Australian Glass Today, edited by Margot Osborne, pub- lished by Wakefield Press, Adelaide, 2005.

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