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ISSN 1324-9479

JOURNAL OF THE AUSTRALIAN ASSOCIATION OF ARTISTS

------~ . .. . . I Editorial n Graham Stone 2 AusgLass I Hot Glass Burners and Controls 0 Mag ~ss~ ,tn4~ Mark Brabham 3-7

I The Gippsland Connedion ::s Christmas 195 Ivana Jirisek 8-9 Edition r+ I Glass Durability Testing Henry Halem 10-11 tD I Exhibition Review Rob Knottenbelt 12-13

::s I David Wright's Shabbat Window r+ Graham Stone 14 I Letter to Members ua Linda Fraser 15 Correspondence 16 - Postcards From•.• 17

Glass News 18-19

Front Cover I Exhibitions 20 Nedscape by Henry Halem, 1995. This drawing is one of a series I European Glass '97 Gerie Hermans 21 of works on paper and in glass inspired by Sidney Nolan and Book Review: Glass Notes the whole Kelly legend. Graham Stone 22

Editorial Committee Magazine Ausglass Graham Stone Chairperson Letters and Correspondence to: Jan Blum (Secretary) Mies Grybaitis Secretary Graham Stone (Editor) PO Box 915 Cold Glass Workshop Leichhardt NSW 2040 Dick Stumbles Meat Market Craft Centre Ph/Fax (612) or (02) 5641398 Kim Lester Advertising 42 Courtney Street Please note the contact Rosy Green Distribution North Melbourne VIC 3051 for membership enquiries Fax (613) or (03) 9329 2272 and address changes: Tactix Design Design & Production Advertising Maggie Stuart Ph. (6142) or (042) 84 7844 Gerie Hermans Dick Stumbles Board Brenda Page Members 54 Green Island Avenue Vaughan Bryers Mount Martha VIC 3934 Ph. (6159) or (059) 755852 The views expressed in Ausglass Magazine are not necessarily the views of the Ausglass National Executive or the Magazine Board. - It's unfortunate that Linda Fraser Graham Stone has had to resign as President of Ausglass. (Her letter to you appears in this issue.) Nevertheless, the National Executive is This issue of Ausglass Magazine proceeding with preparations for the contains more technical information than Sydney conference and administering recent ones. This does not represent any the Association. The Executive is confident change of policy, but the practical is as that progress of the organisation will relevant to us as the aesthetic. So if continue and Linda envisages that she you have acontribution to make in this will still be able to help at committee area, don't hesitate. It is one of the level, albeit in a reduced capacity. many factors to balance in running Contact with the Executive can still be ajournal of this nature. made via the address on the contents Mark Brabham's page of this magazine. article on gas burners Gerie Hermans' piece on European is a long one, but is Glass '97 indicates that year will be an useful data for anyone exciting time in Holland. She may contemplating attend some of the events and has establishing gas promised to keep us informed. furnaces or kilns. Thanks for the positive feedback Let me know if you would like some regarding the new look magazine, it further backup information on this topic. has been remarkable. Without the help If you have other technical questions or of Chris Bohan and Tactix Design, it problems to solve, drop us aline and we would not have been possible. will endeavour to find answers. Ausglass Magazine now has an ISSN The excerpt from Henry Halem's (International Standard Serial Number) Glass Notes has been included for and can be traced internationally via similar reasons and deserves the National Library of Australia. consideration by those involved in If you have any queries regarding making their own glass. Also in this articles or images in the magazine, issue abrief review of Glass Notes for fax me at: those of you not familiar with its Cold Glass Access Workshop, contents. This year, Henry received the (613) or (03) 9329 2272. Ohio Arts Council Governor's Award for services to Kent State University and to Happy Christmas glass. Henry's front cover drawing stems everyone, see you from his visit to Australia earlier in the in 1996. year, when he became enamoured of Sidney Nolan's paintings and the Ned Kelly saga. The experience also alerted him to aspects of the Australian landscape, with its profound influence on our culture.

• Ausglass I­ Mark Brabham o ::::a:: G. SBurners and Is La"-- s·". Contra Atmospheric (Venturi) Burners

These are burners that operate This method of firing is the Flame safety systems for these on gas only_ The velocity of the gas cheapest in terms of equipment costs burners are usually the thermoelectric stream flowing through an orifice but is also the least economical. Special type that can be used with or without entrains atmospheric air for combustion attention must be paid to obtaining as aseparate pilot Durner. The pilot from aventuri throat. The resultant neutral (correct mixture of atmospheric burner can serve as a low-fire setting or mixture burns at aspecially designed air and gas) a flame as possible as as aslow heat rise in the initial drying tip, of which there is awide variety, either oxidising (more air then gas) or out stages. Mount the pilot and/or known as aflame retention head. reducing (less air) flames or atmospheres safety probe well away from the For glory hole, tank and pot furnaces, are not only costly in fuel usage but furnace back heat. It is always better atmospheric burners generally use can have detrimental effects on the and safer to purchase the burners LP gas at high pressure as the pressure . Although some assembled and pre-tested with the of reticulated natural gas is usually too secondary air (air entrained around the appropriate controls. low to inspirate enough air to generate burner tip) is necessary for complete Automatic ignition and quick a hot, short flame with any forward combustion, try to keep it to a lockout safety systems are readily velocity. Atmospheric natural gas minimum by correctly sized burner available as an option for these burners. burners may be used on lower ports and flue outlets. It is possible temperature ovens or furnaces. to check the furnace conditions by Pre-mix Open There is adefinite ratio between restricting the flue exit and checking and Sealed Burners the burner port area and the venturi for slight reduction. This will indicate These are burners using a throat. Typically, depending on the the settings are close to perfect. machined mixing set and forced air furnace back pressure, gas pressure It is difficult to achieve sufficient from a blower or compressor. Open and burner head design, the venturi temperature in glory holes and higher burners use asuitable flame retention throat area is approximately 40 to 50 temperature furnaces with these burners. tip and the sealed type utilise an RI per cent of the total port area. The greatest limitation, due to the low castable tunnel or MP tip mounted into Mismatching will result in a decrease in mixture pressure produced, is the the furnace wall. Natural gas or LP gas mixture velocity resulting in inadequate volume of combustion products that may be used at low pressure as the burning or, at worst, flash back. can be introduced to the furnace forced air induces the gas and produces This can also be caused by constricting combustion area. Simply increasing the a blast-type flame. These burners are the flow; use a preheat pilot if a lower combustion space size will not achieve more efficient than atmospheric rate is required. results as losses will increase burners as greater control is available proportionally. Obviously there is a fine over the air and gas mix, a hotter flame balance. In some cases better results is produced and the sealed burner have been attained by using several requires no wasteful secondary air. smaller burners rather than asingle, The open burner will only need In some cases better results large burner. Smaller burners with secondary air for cooling purposes to have been attained by using smaller gas orifices and higher gas prolong the tip's life. Some operators have several smaller burners. pressure would develop higher mixture traded tip life for lower noise by sealing pressures allowing more combustion the tip in the furnace port with fibre. products into the space.

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Ausglass .. The higher mixture pressures Nozzle-mix (NM) Burners Special Burner Types developed by this burner style enables These types of burners accomplish In recent years many specialised greater combustion volumes into the the mixing of the air and gas after they burners used in large industrial available furnace combustion space. leave the burner port. Up to the burner applications have become available Some careful preheating of the head the air and gas are kept separate, for glass working. combustion air is possible, although lower gas and air pressures may be used not recommended, as there is a risk of and there is no chance of flash back. Multipart Refractory Burners flashback or damage to the controls They generally have greater turn down through heat conduction. Although used in industry as than other burner types but the main Pre-mix burners generally have a radiant type burners for many years, advantage in glassworking is shorter flame length than comparable this multiport variation for glory holes recuperation. As the preheated nozzle mix burners, the air/gas ratio is was developed by the Swedish combustion air is kept separate there is easier to control and the burner overall company Essemce in conjunction with no chance of over-heating the gas generally easier to set up. Special flow Orrefors Glassworks with several controls. regulators can be fitted to simplify advantages in mind. The burner had to adjustment enabling alteration of air have a low noise level, be fuel efficient flow only to raise or lower the and reliable. ACS has developed a temperature. This lends itself to simple, similar burner. So far, however, there accurate temperature control. Again, are only four working installations care must be taken to correctly size the (Essemce and ACS) and there has not mixer as adefinite ratio exists between been widespread acceptance due to the size of the mixer chambers and the the heat distribution and cost. These burner orifice for proper operation. It burners are virtually unknown in the is possible to construct asimple mixer States where the more common MP Ceramic Burner tips tend to be used. from pipe pieces but extra care should Nozzle mix burner be taken to ensure it is not possible for Industrial grade burners used for larger Usually sited in the glory hole the air to flow into the gas line if the furnaces or where recuperation for up to roof, the burner has an intense short burner or feed pipe is blocked. As a 30 per cent fuel savings are desired. These flame that relies mainly on radiant minimum, alight flap safety check are only used with forced air systems. heat when operating temperatures valve should be fitted to the gas line. are reached. This is a pre-mix type and If accurate mixing and turn down are Basic cast nozzle-mix burners can must therefore have an independent required, use the correct mixer. handle low preheat temperatures air supply to operate correctly. State gas regulations concerning providing some fuel savings but forced draft (pre-mix and nozzle-mix) deterioration may result if these burners burners tend to differ, with some States are exposed to high temperatures for a demanding full sequence electronic period of time. Nozzle-mix burners that flame failure while others may allow will provide high preheat temperatures glory hole burners without safety if and maximum fuel savings are constructed the burner is constantly supervised. from stainless steel internals or in some All enclosed pot or tank furnaces special cases, ceramic materials. should have quick lock out safety Various types of flame shapes and as these burners can produce large capacities can be designed to suit amounts of unignited mixture in individual requirements. Air and gas ashort period of time. controls and safety equipment are similar to pre-mix burners.

• Ausglass Multiport (MP) Ceramic Burner Tips Gas and compressed air is quite with a larger tube sited around it. satisfactory provided the appropriate The area between the inner and outer The flame retention design of tip is used with a row of fine jets. tubes must be sufficient to allow for these burners allows for faster light­ Separate burner tips on a common free circulation of the cold combustion ups and provides ultra quiet operation manifold can be used for crack-off and air but restricted enough to enable the without the high pitch whine or loud larger brush-type flames for polishing. heat conducted through the inner tube roaring rumble of some burner heads. Positioning of the fine, crack-off tips to heat the air to the desired preheat They are generally used with an air is critical for an even cut and some temperature by the time the air exits blower with low gas pressures or with experimentation may be necessary the recuperator and flows to the venturi mixers on high gas pressures. before maximum output is achieved. burner head. Using a separate air supply would give more flexibility over the heat range. Several options are available to enable Multipart Ceramic the tip to be used with a permanent Burner Tips pilot, fully automatic lightup and full These burner tips have safety to satisfy local gas regulations. the advantage of long MP Ceramic Burner tips can be used on life and low noise. forced air or atmospheric controls. (eN burners are a further Nozzle-Mix Flat Flame Burners package configuration that includes the train This type of burner has aspecially and blower. They are used designed burner tip and refractory quarl to produce a spinning flat flame to fire larger lehrs evenly. that spreads at 90 degrees to the using a down draft flue mixture outlet. They have been used in arrangement.) industry where little forward flame travel is desirable and efficient radiant heat is best. They are situated in the One idea has all three stages attached The passage of the hot combustion roof section, in some cases the whole to acommon adjustable slide for products flowing through the inner roof, and the flame radiance and accurate positioning and rotating tables tube must similarly be restricted to refractory re-radiation enables asmaller for the flaming section. allow sufficient heat penetration. combustion volume to be used and Baffles may be added to the inner tube Recuperation rapid melting possible. This is the theory, or the single inner tube exchanged for but generally the high expense is a Recuperation is the process of multiple tubes to increase the available draw back. As there has only been one preheating the combustion air by surface area. Experience has shown installation to date, there is insufficient utilising the waste flue products. that over a period of time acoating of data to enable adefinitive opinion. Although recuperation has been used products produced by the glass making in industry in various forms for many process tend to accumulate on the Crack.Qff and Flame Polishing Burners years, its use in small glass tank or pot inner tube surface. Provision must be Several types of standard ACS furnaces has only recently become made for periodic cleaning of the burner tips and controls have been viable due to high fuel costs. Fuel inside tube and it is a good idea to used for this application with varying savings of up to 40 per cent can be have a small reservoir underneath the degrees of success. The conventional achieved through properly designed flue outlet to gather these products gasloxy hand torch is simple and and implemented systems. rather than allow them to block the effective method but is quite labour A simple and effective recuperator uses furnace outlet. Air piping from the intensive if volume production is astainless steel tube on the flue outlet recuperator to the burner head should anticipated. Several units have been have a large enough cross sectional designed by glassworkers to speed the area to cope with the expansion of the process. A three-stage set up seems to cold air as it is heated. This can be up be most effective with a diamond tip to 40 per cent at typical temperatures. for scoring and burner jets for crack-off and edge polishing.

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Ausalass _ Annealing Ovens As temperature control is such an Safety Controls important consideration, programmable There are many functional Safety controls for gas appliances units are available to accurately maintain annealing ovens in use including some vary from over temperature controls to and control the temperature gradient. with well-designed features such as sophisticated automatic start-up and Accurate electronic digital units are adjustable combustion spaces for varied flame failure controllers. Flame safety available up to 12 stages and control throughputs and automatic doors for controls are recommended for all types the burners using solenoid valves hands free loading. An annealing oven of burners where there is the risk of a according to demand. Electric kilns are must have several capabilities to operate build-up of unignited gas should the easily controlled with programmers, the efficiently. It must have even heat flame be extinguished. contactor coil or relay substituted for distribution, the ability to maintain a the solenoid valve. Thermoelectric Safety set temperature and fire down over This is the simplest form of flame a period of time at an accurate rate. and Fusing Ovens safety and is permitted on atmospheric Gas annealing ovens work best using a These furnaces fire to ahigher burners with acapacity under 500 MJ down draft design (the flue outlet near temperature than annealers but can per hour. These operate on an the base of the oven) and burners that employ similar burners. Downdraft electromagnetic principle and require have a short, clean flame with good designs are effective for general work no power. A small current is generated turndown characteristics (high flame but it is also possible to fire high when the tip of athermocouple probe to low flame). The burners usually fire pressure smaller burners across large, is heated by the flame. This current through the base, on either side of the flat glass sheets. This method relies not excites an electro-magnet located in stacking area, however higher gas only on convection heat input but also, a safety valve and attracts aplate pressure burners can fire horizontally to adegree, on radiation from the flame. allowing gas to flow. Shut off along a base channel. Better ovens It is important if using this time should the probe cool can be have been constructed using high method that sufficient draw is available up to 20 seconds. pressure burners firing around the top from the flueing system particularly in of the space, creating acircular swirl, Electronic Quick-lockout the early stages of afiring. It may be for even temperature gradients. These units require power and necessary to preheat Insulation materials are usually fitted to forced-draft the flue, but in any are amatter for personal Flame safety controls are burners or safer atmospheric burners. case, pressure drops preference with many recommended for all They shut down in approximately one across the flue pipe people maintaining that second by closing a solenoid valve fitted types of burners where and exit port must be Rl brick ovens can into the gas line. there is the risk of a minimised. Sealed virtually cool down (with Two main types are available; the build-up of unignited burner tips are better. all openings closed) at flame rectification type and the ultra­ gas should the flame be Larger, more the required rate violet type. Flame rectification relies on extinguished. industrial kilns should without any added heat the ability of ionised gases in the flame use higher pressure input. Against this it must to rectify on AC current from the forced draft burners firing across the be remembered that it takes extra control unit. A flame sensing rod made load. These use an air fanlblower with energy to heat a brick oven than from special high temperature material the appropriate mixing mechanism to alight-weight fibre type. is used and must be situated near the deliver sufficient velocity for even heat Low gas pressure burners edge of the main flame. A micro-amp distribution. suitable for these ovens are meter may be used in the line to site Automatic temperature atmospheric and can be pipe-type the rod where the current produced is programmers are important and can burners with either arow of drilled strongest to minimise nuisance be effectively connected with any gas holes, slots or newer designs that shutdowns. The wire must be sturdy burner system. Multiple tips commonly incorporate a mixer with many fine enough to resist drooping or utilise a ladder type pilot arrangement slots in the burner casing (tube type). deterioration at high temperatures and on either side, modulating the main The newer types are generally cheaper, the porcelain insulators must be kept burners to relight from the pilot for more efficient and have abetter clean or replaced if cracks develop. accurate temperature control. Flame turndown. Safety controls are usually For reliable operation the earthing safety is simply fitted to the ladder pilot thermoelectric. point on the burner must have at least with manual or automatic spark ignition four times the area of the rod in the flame. an option.

• Ausglass UV monitors are sensitive to the In some instances the authorities ultra-violet radiation produced by may also insist on over temperature flames. They also sense the arc of a protection or explosion relief. spark so must be sited away from any Explosion relief is simply a panel Explosion relief is simply apanel automatic spark igniters fitted to the fitted to the furnace of the correct fitted to the furnace ofthe correct burner. Their main advantage in high dimensions of a material with less dimensions ofa material with less temperature situations compared to resistance to an explosion than the resistance to an explosion than the flame rods is that they can be mounted furnace itself. Non-return check valves furnace itself. away from the heat zone. They are may also be required to be fitted into protected and see through a protective the gas main to prevent air flowing cover such as ultra-violet transmitting back to the meter. A regulator is always fused quartz glass. In some situations required on either natural gas or LP gas cooling air should be blown across the installations to monitor the gas flow UV cell face to remove dust and and provide the correct pressure outlet. protect from excessive back-heat. All valves and fittings must be approved Flame rectification and UV units and pipe fittings particularly must be are required on all forced-draft burners suitable for gas. Safety valves should be and gas will not be connected unless listed in the gas association bulletin. they are fitted. The regulations covering natural gas in Australia are, at present, more stringent and more strictly adhered to than LP gas as natural gas is usually supplied by one company only. Laws are being structured at the moment to require users of LP gas, in situations where an explosion or Mark Brabham is a principal of unsafe situation may occur, to follow Australian Combustion Services the recommended natural gas safety and a long term supporter of regulations. the movement.

Ausalass .. ~ WI --

en Ivana Jirisek The Artists The Australian artists whose .... Background orientation with glass was significantly There is a large contingent of affected by contact with GCAE and/or Cal Australian glass artists working today Budgeree Glass in Gippsland are: whose origins can be directly or Artist Current Base indirectly linked to events in Gippsland ::I in the mid 1970s. The advent of the Michael D'Aquino Melbourne, Vic small glass furnace, devised in America Anne Hand Melbourne, Vic in the 1960s, enabled artists to work Tony Hanning Yinnar South, Vic Q. independently of afactory system and Brian Hirst Sydney, NSW explore the potential of blown glass as Michael Hook Melbourne, Vic a material of expression. Warren Langley Sydney, NSW In 1974, American glass artist Nick Mount Adelaide, SA Richard Marquis was invited to Australia Keith Rowe Blackheath, NSW with assistance from the Australia Robert Wynne Sydney, NSW Council to help stimulate a blown glass These artists are pioneers of presence in this country. On his tour he Latrobe Regional Gallery in Australian hot glass, with 15 to 20 years visited the Gippsland College of experience. Some have established a Morwell, Victoria has invited Advanced Education (GCAE) where he significant presence on the Ivana lirisek to curate an exhibition inspired student Nick Mount. Nick international exhibition and teaching on the development of studio glass subsequently travelled to the United scene. All remain active locally. in the Gippsland area. With funding States and Europe, returning to yet to be secured, it is intended to Gippsland in 1977 to establish One Off. tour nationally and reveal an It was the first privately owned, full­ important part of the Australian time hot glass studio in Victoria. In 1979 it was relocated to nearby Budgeree, studio glass movement. renamed Budgeree Glass and functioned until 1984 before moving to Adelaide. During their five year span in Gippsland, Nick Mount's glass studios provided a rare opportunity for artists, students and apprentices to develop skills that lead to the creation of their own production and exhibition work.

• Ausglass The exhibition will identify the original Gippsland connection that influenced the individual paths of these highly regarded artists and make visible their social and aesthetic links. It will highlight the following:

• Nine pioneer Australian glass artists who were at the Gippsland College of Advanced Education or worked with Nick Mount between 1974 and 1984.

• Trace the aesthetic line of each of the nine artists and display examples of early and current work.

• Consider the contribution made by the Gippsland experience to each artist's aesthetic direction.

• Identify their individual and collective ach ievements.

• Demonstrate the importance of production work in studio glass practice and its relationship to exhibition work (craft feeds art).

• Present the significance of Budgeree Glass as an example of Australian professiona I craft practice.

• Demonstrate the commitment, co­ operation and vitality of the Australian glass community.

• The American contribution to the development of Australian studio glass.

It is an interesting and important story to tell. You will be kept informed of its progress.

Ivana Jirisek, best known for her curatorial work with Glass Artists Gallery, Earth Exchange Mining Museum and Wagga Wagga City Art Gallery, has been a key player in many aspects of Australian studio glass. She is currently a member of the national Executive Warren Langley, Samarkand Warrior, 1993 ofAusglass.

.".ft' •.. ~ If you are using factory cullet and not altering it in any way, then it's probably not necessary to test for C durability. If you are batching, it is Henry Halem important to establish astandard of durability. It's not fun if that really sweet glass you've been blowing all week suddenly dissolves when you pour U@~ beer into it. . lJmJ@ AC Conductivity Bridge Test 1. In astainless steel mortar pulverise about 10 grams of test glass. t:T This text was distilled from notes 2. Sift the pulverised sample through a .-Be Itook while with Nick labino at his 200 mesh screen onto a270 mesh studio outside of Toledo, Ohio, on screen that has acatcher on the ~ 10 April, 1976, and from atranscribed bottom. (+200 -270). talk Nick gave to the Society 3. Keep what's on the 270 mesh screen . ....~ in Toledo in 1976, but was never Wash sample three times with acetone printed. Nick was always willing to share to dissolve any super fines. technical information if he felt you had Note: According to Fritz, washing been doing your homework. If he felt with acetone was eventually you were only fooling around he discarded by Nick in 1986. wouldn't give you the time of day. I fell 4. Throw out what is on the catcher. into both categories. 5. Keep five grams of sample. The following tests are for soda­ 6. Put 300 ml of double distilled water lime and are done to evaluate in a 600 ml old pyrex beaker. Using the resistance of glass containers to a new pyrex beaker can skew the chemical attack. Nick recommended results as some of the alkali can leach they should first be done to a known from the new glass. durable glass such as window glass or 7. Put the five grams of your sample in bottle glass in order to establish a the distilled water and boil fQr one Nick was always willing to share known standard of durability. If your hour. Make sure you have awatch technical information if he felt you test sample does not pass the chemical glass on the beaker before boiling. had been 'doing your homework'. durability test as it compares to the 8. After water has cooled, measure the If he felt you were only fooling window or bottle glass control, it does resistance of the solution using an not necessarily mean that the sample around he wouldn't give you the time AC Conductivity Bridge.* you are testing is not durable, of day. I fell into both categories. (AC Conductivity Bridge reads in although that might be the case. It only ohms.) Boost the bridge from 60 means that your glass is not durable in cycles to 10000 cycles. This overcomes relation to the standard you are using. polarisation of the electrodes. It is important to establish a parameter Note the resistance of the glass of durability. According to Nick, being tested and compare it to window glass was not all that durable the resistance of a known durable anyway but it was astandard. Since glass such as window or bottle glass. windows were always being cleaned, If the resistance is greater than the usually with an ammonia based cleaner, known glass you may assume you any signs of surface de-vitrification glass is durable. Window glass has were washed away by "the woman of the aresistance of about 3,000 ohms. house". I guess Nick didn't do windows.

• Ausglass Titration Method 6. Count the millilitres needed to neutralise the solution and compare If you do not have aconductivity the amount against your window or cell you may use asimple titration bottle glass control. You should only method to establish durability. This need about two to three millilitres to method is cheaper and the equipment neutralise the solution. If you have is available from any chemistry supply used more acid to neutralise the house, college or university chemistry solution than it took to neutralise department. If you work at a university the window or bottle glass then your check out the chemistry department to sample is not durable. If you used see if it has a lamp worker. If so, make the same or less you're home free. friends, lamp workers know more than just making swans. Note: Nick Labino used window glass as 1. In astainless steel mortar or stainless his standard. You can use any glass that steel ball mill* grind up 20 grams your think is durable as astandard. The ormore of your sample to go through reason window or bottle glass is used is a 40 mesh screen and not a 50 mesh that it is a known durable glass. His screen. Take the sample on the 50 durability test varies agreat deal form mesh screen and pass a good strong the ASTM approved test but is fine for magnet through it to remove any the studio glass artist. iron scale contamination. Wash the The ASTM test is quite rigorous sample with acetone three times to and should be used by anyone making dissolve the glass dust. The sample containers that hold fluids. For is now ready for use. Use ten grams complete information about soda-lime of the cleaned glass sample. durability testing write or call: 2. Take slightly more than 100cc of American Society for Testing and distilled water, referred to as filtrate, Materials, 1916 Race Street, and boi I half of it to rid it of the C02. Philadelphia, PA. 19103. Mix the water back together. Ph. (215) 299 5400. Ask for abstract C225-90. 3. Put the 10 gram sample of glass in The cost of this abstract is US$12.00. 100cc of filtrate and boil the solution for four hours. Make sure you boil "'Stainless steel mills are available from the solution in a beaker covered with Norton Co., 120 Front Street Worcester; awatch glass. MA 01608 USA. 4. After boiling, cool down the filtrate to room temperature and add five "'AC Conductivity Bridge is available drops of methyl red indicator which from any good electronic testing will make the solution slightly yellow. equipment company. It is expensive. 5. With afiftieth normal sulfuric acid solution in atitration column add, drop by drop, the acid solution to the filtrate glass solution. Keep the This article is an edited excerpt solution stirred while adding the from Henry Halem's Glass Notes. acid. When the solution turns pink (See also Graham Stone's review the solution is neutralised. Let the in this issue.) Henry Halem has solution stand for an hour or two to worked with glass since 1968 and see if it remains pink. If the solution is Director of Glass Studies at Kent turns yellowish again, it means the State University. He was the first alkali is still going into solution, and President of GAS. more acid needs to be added to completely neutralise the solution.

Ausalass • rn )( Review ~ Geri Hermans' -JJ e JWorshipping the Stone' Craft Victoria 24th August - 9th September

I missed the opening, -the usual Its semi cave like atmosphere was stuff with asmall three and abit year somehow avery appropriate setting for old, they nearly always get some kind of this almost crystalline body of work. bug when you want to go somewhere. Gerie Hermans has now been around But then again I didn't really mind as the Oz glass scene for awhile with time you never get to see anything amongst spent at the Jam Factory, South Australia all the chatter, the thrusting arms and as atrainee, working as an assistant for waving bodies. Apparently this was a Melbourne hot glass artists Pauline very cheerful affair indeed with lots of Delaney and Richard Morrell, working enthusiastic folks packing the place out. in the Cold Glass Workshop with So, I went later, alone, to quietly have a Graham Stone and recently completing good look at Gerie Hermans' second her MA in glass at Monash University. one person show; the first being in 1991 Of the various pieces shown at - her 'Emigration' installations at the 114 Gertrude Street, numbers one to Blackwood Street Gallery, North ten constitute her new works. Rob Knottenbelt Melbourne. This exhibition of her recent Essentially these were asimple, unfussy, work was held at Craft Victoria's Gallery contrapuntal discussion between two space at 114 Gertrude Street, Fitzroy. materials: pieces of textured clear cast For the non Melburnians, to give glass and stone. you a quick geographical fix in case The individual geometric shape you're ever passing through and want and texture of each stone predetermining to check it out - it's in the inner suburbs, to avery large degree the resultant close to the CBD, just off the top end of shapes and use of the accompanying avery trendy part of town passing its cast glass. As a group of pieces they use by date, Brunswick Street, Fitzroy. have their genesis in explorations There aren't too many other bits in Oz begun during Hermans' thesis year and quite like this stretch of town. from my perspective are still very much A great place for good food, beginning works, clearly representing Gerie Hermans has really begun coffee, flowers, books new and used, her very first step in that long journey to work. Power to her arm, and the odd pub, the inevitable yart and to finding and developing adistinctive success in the long journey ahead. graft, and a generally amiable place for personal vocabulary. inner urban animals. Very schleppable. The apposition of two materials, King Street in Newtown is about as stone and one other, is apoint of close as you might get to it in any departure already explored by many in other burg. other mediums, so to do the same in The Craft Council's space is small glass is no better or worse. What does and intimate, without a great deal of matter is that there is enough core natural light. strength within this exhibition to see

• Ausglass that Gerie has definitely found a valid Text for some has almost unattractive characteristic of those beginning. acquired divine status; tablets delivered insisting everything must have a label The larger works - The Stranger, on high to educate and elucidate the to help legitimate its existence. In the The Watcher and The Critic - are mindless unwashed. Regrettably, tablets end, like so may things, it becomes a beginning to explore real relationships so dispensed are frequently only matter of personal choice. But, I of volume, mass, and textures. notable for their gibberish. suggest, it should be approached with They already imply the capacity to Peter Dormer's recent amusing rather more caution than is currently develop a personal language. and pertinent dissection in Melbourne the fashion. Attention to clarity of ideas and detail at the National Conference of the comes only with time and experience. yawning pitfalls for unwary players is In summary, Gerie Hermans has really definitely worth taking on board. Titles begun to work. Power to her arm, and are keys, or leading indicators to give success in the long journey ahead. the viewer adoorway to begin to travel Robert Knottenbelt is one of the towards, into, and through a work. It is pioneers of Australian studio glass. useful when it says something concisely, He operates a studio at Wesburn, Coda if not, why bother? outside Melbourne. One comment about a pernicious There are few glittering prizes perennial disease is worth making at handed out for verbal obscurity and in the end of this short review. (This object making. I am firmly of the incidentally is not directed at Gerie.) opinibn not everything automatically Appropriateness of accompanying text needs a label. and titles to any exhibition is always a Genuinely effective works often veritable minefield, requiring thought, tell their own story, becoming different consideration, always needing to be things to different minds without negotiated carefully by artists and needing any extra linguistic baggage. curators alike. Naming and Explaining can become an

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Vl ab at r+ o :::::I David Wright's ow C'I) The Temple Beth Israel

David Wright has completed the first of anumber of windows commissioned for the Temple Beth Israel synagogue in Melbourne. It is predominantly deep blue, white and gold and is in honour of Caren Lee Topol, 1971-1994. The Shabbat window, representing the seventh day of creation, the day of rest and sanctification, is centred around the family, symbolised by the meal. Hands shield the light as the blessing is said. Salt falls like tears upon the bread, for within the love that binds us are the seeds of loss and grief. Flowing from the top and bottom of the work, and symbolised by the Shabbat fish, is the blessing, "may your children multiply like stars in the sky and the sand in the sea." For Jews, the exodus from Egypt marks the founding of the Jewish nation, and is remembered by the "A series of journeys is revealed ... David Wright is a thirty year parting of the seas. God's blessing the journey of all humankind in the veteran of the studio glass draws forth the bread (wheat) from Creation story, the journey of the scene. His many commissions the earth and God's covenant, the creation of the nation of Israel and the include Parliament House, rainbow, arches over all. journey of the individual, wherein the Canberra; St James Church, nation of Israel is seen as asingle Sydney and Cabrini Hospital immortal individual." (David Wright). Chapel, Melbourne.

• Ausglass • c-"" o Members L\nd a fraser ro~ -'\

,",u,q Errata . f Finn's Stame. d Glass In the last Ausglass Magazineb rt Issue, The address 0 plier's . , 5 we misspelt Ro e was also incorrect. The sup Sprmg 9 , (His drawing t ddress is: Knottenbelt's name. er.) This time, curren a d Peakhurst d on the cov . was feature . for the typo. 129 Boundary Roa , I' 2210. wego t I't right. Apologies Wales Austra la New South , (02) 533 3066. Ph. (02) 533 4333 Fax

• Ausglass "en From ... r+ n cu

A Maureen Williams. Scene from the 'Blowout in a. Blackheath' at Keith Rowe's en Blue Mountains studio.

,.....~ ~\ \\ 'I, eYe ~ ~~f£~-Ci1'~ :!":4 '~::~~::~s' ~\\ ;, 'Of \lUb\icatiol\ \. • e ~ }~ I'~ 0,.~ \ .\0 Glaba'" s\on i c' A ~~ ~" •••••••••• j. 1'1) Chuck Simpson. . J ~~ I ~~*' !i&W . i ",' J" The Eumundi Brewery Complex, . f &' . .#~' , ,AI ~ $~"CA / Site of the Queensland Glass ~ ~e \v/# Artists Association's glass access {, I w~ "~IU! .~ss: workshop on the Sunshine Coast. ~ .#~;;",,,, .. J , ..., ...... ~q A .~,.~w"W"::%~ 1/

Auslliass .. By now, many of you would be aware that the idea of a National Craft Craft Australia Centre has been dropped by the Australia Council. Planning for the Craft Australia is expanding its Centre had been going on for the last membership constituency to include couple of years and at one stage looked not-for-profit organisations with certain to go ahead in Melbourne. compatible aims. Subscriptions for this A battle between Melbourne and category of membership are $200 per Sydney ensued and the battle itself may year. Among other things, they entitle well have contributed to the dropping members to nominate and vote for of the hot potato, though the cited directors. If you wish to receive more reason was "cost-prohibitive" long term information or an application form, funding. contact Craft Australia on (02) 2111445. While interstate rivalries can Craft Australia will be working generate productive competition, there with the department of Foreign Affairs are times when they're downright and Trade to prepare an exhibition to destructive. It's hard not to speculate travel to India in late 1996. It is tipped whether this is one of those occasions. to focus on Australian glass, ceramics Apetition and open letter was circulated and textiles. via Craft Australia late in October in an Australia Council attempt to re-interest the Australia Council in a National Craft Centre. Next year, three of the Council's It was signed by many noted artists, five Boards will be replaced by Funds including Maureen Cahill, but it's doubtful of the same name: the Literature Fund, whether astrong response could have the Visual Arts/Crafts Fund and the been realised, given that so little Performing Arts Fund. Each Fund will notification time was able to be scheduled. comprise seven members including a Chair who is a member of the Council. Restoration Workshop Accompanying the changes will be a Conducted by Bronwyn Hughes. simplified grant assessment structure. The practical requirements of stained The three new funding categories for glass restoration under the guiding direct benefit to artists are: principles of the Burra Charter. • Fellowships For details, contact Carolyn Byrne • Partnerships (03) 9349 4554. • Commissions Congratulations to glass artist Restoration 95 Gerhard Emmerichs who has been San Francisco, December 10-12, 1995. awarded one of the 1995 Fellowships. Baltimore, March 17-19, 1996. In what is now called the Ph. 6179339699, Fax 617 9338744. partnerships category, Sally Musset will spend 12 months in the Canberra studio of Helen Aitken-Kuhnen. Blanche Tilden, meanwhile, will be training with Susan Cohn.

• Ausglass Deb on a Roll Stop Press Back in 1993, Deborah Cocks won Noted Melbourne glassblower, the ACI Glass Award organised by Anne Hand, took her own life on Ausglass in Melbourne. Since then she November 13, 1995. At present, astate Glass Paints has appeared on the cover of Ausglass of shock best describes the Australian Glass paints supplier CDS is now Magazine, among other accolades, and glass community, who turned up Ceramaglass Decor. Contact Lynn participated in the Ausglass in Adelaide en masse for Annie's funeral. or Yvonne at their new address: 1995 show at BGM Art Gallery. This year As this issue went to press, the 61 Waterview Court alone she's conducted aworkshop at impact had not fully sunk in, but our Croydon Hills Vic 3136 the Adelaide conference, mounted a sympathy to all those whose lives she Ph. (03) 9725 3037, solo show at Distelfink, and contributed touched, especially her family and close Fax (03) 9722 9855. to the Vichealth National Craft Award friend Pauline Delaney. The Hot Glass at the National Gallery of Victoria. Now Access Workshop at the Meat Market, Billy Cans she has received the prestigious RFC and glass scene generally, will not be Earlier this year, the Australian Prize in Sydney. Congratulations Deb. the same again, but Anne Hand will Tourist Commission invited A review of the RFC Prize at not be forgotten. craftspeople on the Craft Australia Glass Artists Gallery will app:~!jn"»,,,,, ',,,,,Qnqb~ppjer note, Gerry Riley '~hdM8~othave:"atie\"vbaby slide index to decorate an Australian daughter, ~:~::~~:~~a~d~~ii~;~;~~~~~~:: ,.,>"" billy can, acompetition that formed as do Alex Wyatt~~~~l1~:'CqDg~aiUlation~ ~~~~fgot:xx~" part of an international promotion. m9vedl~ the C.r;ft\lict~?fagallery folks. In the casepf Gerry •• ", hei(babyiscaU~d Glass finalists were Jan Blum and "'r~ Melboucp@:",See EXhibitid~,) Annie and was 6'btn./,¥ n,I}Novem.~~r. ."," Gaylene Allan-Richardson. The winn~r ~., ~r"~~~~::::::~;~;::;:~I;~::::;: was Cheryl Bridgart.

Winner of thO section was Ama graduate stud University. A was thewoL.

..:.:::;~:~~::::~":::.:.{:~::. :::::::~~mw" A.~t~~~,~~,: "'" Bonny Prince Charlie. An historical The RFC Prize. This Glass Artists campaign commemorated in glass. Until Gallery exhibition has travelled to the 31 December at the National Gallery of Craft Victoria Gallery, 114 Gertrude St Victoria. Atalk on the show will be Fitzroy in Melbourne. 6-21 December. given by Geoffrey Edwards, the Curator, at 11am on 21 November. Afurther Handle like Eggs. Graduating lecture on Jacobite glass, by Robert exhibition from Canberra School of Wilson, will take place at 1pm on Art's Glass Workshop. Beaver Galleries 6December. in Canberra, 81 Denison St Deakin ACT. 3-17 December. Mixed Media Exhibition. Includes glass by Emily Sidell, Emma Camden and Glass: One-of-a-Kind/One-of-Many. Kelly McGlynn. Dowse Art Gallery Society of Arts and Crafts, Boston, USA (Lower Hutt) New Zealand until until 7January. 15 December. Undergraduate Exhibition. Klaus Moje Retrospective. Elbourne, Fogel, Lewry, Maberley, Canberra School of Art Gallery until Odell. 24 November - 1December. 24 November. Curated by Geoffrey Postgraduate Exhibition. Edwards. (Review in previous Ausglass Murray, Tow. 8-14 December. Both Magazine issue, Spring '95.) shows at Sydney College of the Arts, 24 Mansfield St Balmain NSW. Three Fires. Annual Student Exhibition of Monash University clay, Bertil Vallien. The Ken Done glass and metal from both Frankston Gallery, 1Hickson Rd, The Rocks, and Caulfield campuses. Includes asmall Sydney. 16-28 December, 1996. selection of works by Honours students. SOFA Miami Exposition. Includes Meat Market Craft Centre until glasswork by Chris Pantano, Kathy 3 December. Elliott and Ben Edols. The Toppo Collection. Coconut Grove Convention Centre, Archeological ceramics and glass. Museo Miami Florida 14-17 March, 1996. Archeologico at Castello Sal ita, Udine, Christmas Show. Includes Italy. Until 31 December. Maureen Williams, Linda Fraser, Mosaic Exhibition. The Artists Geoffrey Mason. Glass Artists Gallery, Garden, Fitzroy, Melbourne until Sydney 21 November - 24 December. 26 November.

Louise Bourgeois Sculpture. Not aglass show as such but well worth a look. National Gallery of Victoria until 27 November, then Museum of Contemporary Art Sydney, 21 December to 14 April.

II Ausglass rn § ~[@~~ ~®~ o

Leerdam, the Netherlands glass With European Glass '97, Leerdam '1:J city, is organising an event in 1997 expects to attract aminimum of 50,000 called European Glass '97. The city visitors to the glass city. There are plans t1) council of Leerdam has set aside for asymposium for European glass 100,000 guilders for this ambitious artists, designers and architects and project. The National Glass Museum, their work will again be exhibited in r:u The Glass Foundation and Fort Asperen. The Co-operation of Glass the Association of Friends of Factories are reacting positively to the Contemporary Glass will co-operate. plans and finding ways to bring in their ::3 European Glass '97 will lean ovens and expertise. strongly on Glass '86 which was an After initially playing awaiting initiative of the Foundation Fort game, De Dude Horn has signalled a Asperen and the glass studio strong criticism. Willem Heesen objects De Dude Horn. This was the occasion to the event being too touristy in during which Leerdam became character. According to him, the Ge r; e Hermans conscious of the value and possibilities emphasis should be more on the of its glass city image. Artists such as possibilities of glass for the artist. Dale Chihuly, Mieke Groot, Richard Meanwhile, aprogram is being Meitner, Bert van Loo and Willem developed and acommittee formed. Heesen showed the possibilities The Committee includes the Mayor of of glass art. Technical input was Leerdam, the Chairpersons of the Glass Gerie Hermans is a Dutch delivered by the glass makers of Foundation and the Foundation Fort born glass artist whose recent De Dude Horn and by the foreign Asperen and the Conservator of the solo show at Craft Victoria is masters: William Morris, Petr Novotny National Glass Museum. reviewed by Rob Knottenbelt and Uno Tagliapietra. Glass '86 in this edition of Ausglass developed into an unique exhibition Magazine. in Fort Asperen.

Ausglass III m

Glass Notes (Second Edition) by Henry Halem

.7" For years, we have all benefited The excerpt from Glass Notes on glass from Henry Halem's copious note taking. durability testing included in this issue of Henry's handouts, originally intended Ausglass Magazine is agood example. Graham Stone for his students and collectively known It is unrelated to other items in the book as Glass Notes, have circulated around that include decal information, glass the globe (yes, Henry, even as far as adhesives and using anti-freeze as a Australia). painting medium instead of as awine Glass Notes was published by Halem additive. in book form and subtitled A Reference Glass Notes also includes Libensky I for the Glass Artist in 1993. The second, Brychtova casting principles and a number expanded edition was completed in 1994. of methods for calculating firing Atimely manual, it contains schedules. Some of these contain awealth of information anomolies and are surprisingly slow for for both blowers and kiln thin glass firings (say, under one inch or workers. Topics covered 25 millimetres). Nevertheless, I have tested include glass calculation some of the thicker ones and so far they (raw materials and the have worked eX1remely well, especially properties they impart), those that Henry attributes to Jim Harmon. annealing, mould making, An inconvenience for readers on our lustres, furnace and lehr side of the globe is that temperatures are, building, glory holes, for the most part, quoted in Fahrenheit electric elements and only. Nevertheless, this publication is a considerably more. welcome and affordable addition to the It does not include small number of technical reference texts drawings like the one specifically for studio glass people. featured on this In Australia it is available from Artisan issue's front cover. Books, (03) 9329 6042. Oh, and whoever The book is aptly borrowed my copy, please return it! named because it is essentially a collection of technical notes assembled over many years. Much of the information is highly specialised but covers such awide range of glass related data that most glass artists would find useful information in it.

I Ausglass Contact: Pauline Delaney Hot Glass Access Workshop, Meat Market Craft Centre . 42 Courtney Street North Melbourne Vic 3051 Ph. (03) 9329 9966

Manufacturers of gas burners and controls for furnaces, annealers, slumpers, flame polishing etc. For full details contact: Temperature control equipment Australian Combustion Services Pty Ltd Hand held &bench mounted torches 7Albert Street, Richmond VIC 3121 Suppliers to most hot glass workers Ph. (03) 9428 7766 New generation hot glass (03) 9428 1588 recuperating burners available Ask for Mark Brabham to reduce gas consumption Australian Combustion Services Pty Ltd

,....., GIPPSLftnD New Dandenong Studio Our Glass Blowing Access Workshop is ~ nearing completion. GLflSS Early birds can ring Ross Duncan to discuss booking slots for next year. STUDIOS Ph. 056 285 218

A •• __ ' .. AUSGLASS - The Australian Association of Glass Artists. MEMBERSHIP FORM 1995 Ausglass Subscriptions fall due on January 1of each year.

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