s:::- 3 t:r tD ~ .. , ··'· . Editorial n Graham Stone 2 AusgLass Tribute to Annie o Mag ~ss~ If.194~ Robyn Hand & Pauline Delaney 3

NZSAG Pacific Light 1998 Conference 4-5 Number '97 eLeven Float Specifications r+ Graham Stone 6-7 New Glass: The Painterly Alternative to Ellen Mandelbaum 8-9

Defining Technical Terms ::1 Graham Stone 10 r+ Book Review: Chaos Making a New Science by James Gleick va Bob Wilson 12-13 Observations Marc Grunseit 13

Glass News 14-15

Postcards From... 16 Front Cover I Letter from the President 17 Detail from Cactus drawing by Anne Hand. Cold Glass: Access Workshop 18

Hydrofluoric Acid Fatality Anthony Terry 19

Editorial Committee Magazine Ausglass Graham Stone Editor Letters and Correspondence to: President: Jane Bruce Graham Stone (Editor) Go Glass Workshop Dick Stumbles Advertising Cold Glass Workshop Canberra School of Art Tactix Design Design & Meat Market Craft Centre GPO Box 804 Production 42 Courtney Street Canberra ACT 2601 North Melbourne VIC 3051 Australia Brenda Page Board Fax (613) or (03) 9329 2272 Jenny Loft Members Please note the contact Advertising for membership enquiries Dick Stumbles and address changes: 54 Green Island Avenue Maggie Stuart Mount Martha VIC 3934 1 Charlotte Harrison Drive Ph. (613) or (03) 5975 5852 Woonoona NSW 2517 Ph. (612) or (02) 4284 7844 The views expressed in Ausglass Magazine are not necessarily the views of the Ausglass National Executive or the Magazine Board. - Graham Stone

It has been more than a year since Melbourne glassblower Anne Hand took her own life. The front cover drawing is by Anne and this issue also contains a tribute to her. Anne's death had a resounding impact on the glass community (not to mention her family) and the repercussions are still being felt. When Penni Clarke also committed suicide months later it seemed as if the glass world in Melbourne was imploding. The traditional mid-winter darts/pool night was held recently at Toucan Glass Studio, and it seemed to mark the end of a dark era. Glass people responded to the event as If you have any queries regarding never before and everyone agreed articles or images in the magazine, that it was the best darts night to date. fax me at: Its real significance for me, though, Cold Glass Access Workshop, was that the glass community was Meat Market Craft Centre, beginning to heal. Ph: (613) or (03) 93292272 We will not forget our former colleagues, but the worst of missing them is over. Apologies to all for the absence of Ausglass Magazine for so long, but hello again and keep those cards and letters rolling in. Each edition of Ausglass Magazine from now on will carry an issue number. This one is issue 11. The number should facilitate establishing sequence, especially in the Northern Hemisphere where, of course, the seasons are reversed.

I Ausglass i Tri to Annie

Fortunately for us Anne was an artist and she has left us a lot of beautiful works in different mediums that were part of herself and therefore her memory will linger. Anne's career in glass panned fifteen years after finishing college with high distinctions, She has worked in many glass studios ranging from .... Cactus goblet JuliO Santos, Brian Hirst, Nick Mount, byAnne Hand Richard Morrell and the Meat Market Craft Centre, Anne also spent many years assisting Michael Hook in the setting up of his studio in Melbourne, She has exhibited widely throughout Australia and has works in private and public collections, Anne also sold her work to international clients, She has left behind an exquisite collection of unique articles, which she will be remembered for, as each piece portrays her zest for life, Anne was one of the leading female glass artists in Australia and has held respect and formed many friendships throughout the glass community, To hold a piece of Anne's glass in / &~I>-"'" T Cactus drawing your hands is to experience the essence by Anne Hand of life, '" .... ~. ·7.... She was a quiet achiever and we miss her very much,

Robyn Hand and Pauline Delaney

A ...... I ... ,. ... ~ ., .c.;. ~· 1 N,~. "" 1 9 9 8

The Workshops The artists the committee has C' July 1997 invited and the classes they shall Dear Ausglass Member, instruct are as follows: I hope that work and play is in Ann Robinson, New Zealand full swing for all. Your neighbours - the Cast Glass Seminar - from the conception Kiwis - have been hard at it organising of idea through process, to finishing. the next major Southern Hemispherical jam, Following is information compiled KLaus Moje, Germany/Australia to date. All artists and venues have Fused and Slumped Glass been confirmed for workshops/ Dana Zamecnikova, Czech Republic conference and exhibitions planned Mixed Media Assemblage for Pacific Light. The NZSAG Committee has Marian KareL, Czech Republic recently submitted an extensive grant Monumental Concepts proposal to Creative NZ (our funding Hank M Adams, USA body for the arts). Such an ambitious Teamwork - Direct furnace casting, extensive happening as described construction and performance. requires substantial support. I have full confidence this event will come to William Morris, USA fruition. I extend an invitation whole­ Hot Glass heartedly from the New Zealand Society Harumi Yukutake, Japan of Artists in Glass to Ausglass members Resident Artist to attend our workshops and conference - make the Tasman link and come eat some food in the ground with us. We will keep you posted with up-to-date information as we receive it.

To contact direct write to: NZSAG PO Box 68805 Newton, Auckland NZ

• Ausglass NZSAG PACIFIC LIGHT WORKSHOPS/CONFERENCE 1998 JANUARY 22nd - FEBRUARY 1st

The objectives of NZSAG for Proposed Timetable Mon 26th the PACIFIC LIGHT workshops are One day seminar directed by Mon 19th as follows: Rob Hooper and Vivienne Bell Harumi Yukutake commences her • For members to make contact targeting secondary school students. ten day Artist in Residence. Supplied with accomplished international A basic introduction to glass. Videos, with hot glass and kilnforming facilities gIass artists. slides and workshop visits. for an installation to be exhibited at • To create an environment for the 'new' Auckland City Art Gallery, Tues 27th all participants to learn, achieve Auckland. Day four and inspire. • To facilitate these workshops Wed 21st Wed 28th with the best NZ has to offer. Tutors have arrived settled and Performance installation piece • To cross·fertilise these workshops been taken to their various workshop by Hank and his crew - Artspace, where possible. venues. First scheduled dinner with evening function. • To bring focus to institutions workshop hosts, Tas and organisers Thurs 29th and private studios. - opportunity to meet the core and Discussions and workshop assessment. • To have an inspirational identify people. 3-6pm CONFERENCE REGISTRATION and exciting time. Thurs nnd 8pm Workshop closing BBQ party All of these events are to One day seminar by Ann Robinson hosted by Alannah. stimulate the realisation of the on the process of casting - from the versatility of glass as an art medium. conception of ideas through process, CONFERENCE concluding with finishing. Slides and Fri 30th discussion. Juried class. 9am-4pm Opening addresses, talks. Fri 23rd 6pm International Exhibition Opening 9am WORKSHOP REGISTRATION - Auckland Museum/powhiri and orientation. by Ponamu. 4-6pm Exhibition opening National Sat 31st Student Show - Unitec foyer. 9am-5pm Day of talks 6-8pm Exhibition opening NZSAG 7pm Hangi and Auction Members Show - Masterworks Gallery. Sun 1st 10am-4.30pm Day of talks Sat 24th - Conference close. Commencement of the six-day 6pm Closing party ... Klaus Moje intensive workshops . Untitled 1989 TOURS Sun 25th Collection of the artist Transport provided by Unitec Day two Canberra. minibuses, each group has NZ host.

GAFFER GLASS 2 Collins Street, Morningside, Auckland. Manufacturers of coloured glass rods for glassblowers and casting crysta I for casters.

THE WEST COAST WITH ANN ROBINSON Karekare beach plus tour of Ann's extraordinary workshop.

•... _,. .. IIlIlI Specifications

The first major revolution in 20th Century glass manufacture was that of continuous production. In 1959, the process became another major breakthrough in the manufacture of sheet glass. Some claim glass it is apparently caused by it was the most significant industrial weathering, and was never seen by glass development since the blowpipe. its maker.) At higher temperatures, Float glass flows onto a bath of the bloom colours disappear, but the molten tin, with the advantage that frosting can become more pronounced it does not pick up any texture from and remain quite attractive for some the bath and ensures uniformly flat applications, even breaking up into surfaces. It has largely replaced plate stretched, scale-like patterns. glass that must be ground and polished The tin side of float may affect to achieve clarity. The float process the performance of enamels. Certainly takes place in an oxygen free (reducing) with some forms of silver stain, it is atmosphere to prevent oxidation of preferable to avoid the tin side. It may the tin. It features a pouring 'spout' also contribute to devitrification but is or refractory lip, designed so that the Graham Stone less likely to adhere to mould surfaces. texture it imparts flows out to the Different float batches vary, with tin edges of the resulting sheet, for bloom occasionally pronounced, at removal later. other times negligible. The top Though not normally visible, float temperature is an important factor carries a 'memory' of the tin on its in its retention and the iridescence underside. This can have repercussions can disappear with subsequent firings. in subsequent studio firings. Tin bloom To test which side contains the is a frosting that emerges when fired. tin imprint, expose the glass to an At low forming temperatures, it reveals ultraviolet lamp. Learning to recognise aslight iridescence, more evident the steamy glow, or fluorescence, that where the glass bends most. typifies the tin side can be tricky when While much subtler, this the residue is slight or the UV weak. It iridescence is similar in appearance involves looking through the glass and to the effect on ancient glass artefacts bouncing the light off the other side at that so inspired Tiffany. (On ancient about 45°. If it glows, the tin side is the one facing the lamp. You may need to turn lights off or move the glass into a darker place to see it. Portable UV testers are the most convenient to use. They also reveal uranium tints in old glass. There is an acid test that determines the tin side, but I have never used it.

• Ausglass Many of the following float Weight in kilos: Toughened glass: Fractures into small, specifications also apply to other 2500 x Length xWidth xThickness relatively safe pieces without soda-lime sheet . all in metres (6mm = .006 metres). dangerous shards. (Convert inches to metres by Tensile strength: modulus of rupture Type of glass: Soda-lime. multiplying by 0.0254, kilos to 175 MPa for sustained loading Approximate composition: Silica 73%, pounds by multiplying by 2.2046.) (5-8 times as great as annealed glass). Soda 14%, Lime 8.7%, Magnesium Thermal endurance: 6mm ('/4") Thermal endurance: 6mm (1/4") glass 3.6%, Alumina 0.2%, Potassium 0.2%, glass plunged into water at 21°C plunged into water at 21°C (70°F) Sulphur 0.2%, Iron 0.1 %. (Iron is (lO°F) shatters if the glass is already shatters if the glass is already responsible for the green colour.) warmer than 271°C (520°F), a warmer than 76°C (170°F), differential of 250°C (450°F). Visible light transmission: 85% a differential of 55°C (100°F). (6mm or W', approximate). Laminated glass: Temperature at Thermal conductivity (K Value): which laminate melts and contracts: Tensile strength at surface (weakest 1.05 W/m°C. 200°C (390°F). Standard minimum point): modulus of rupture Hardness index: 6 (Moh's scale; thickness for architectural uses up determination for sustained diamond 10, gypsum 2, talc 1.) to 3 metres (10') high: 6.38mm (1/4"). loading 20-28 Mpa. Consult Standards Associations for Strain point: 50S-525°C (940-980°F). * Equilibrium thickness: 7mm or just variety specifications. Australian over W'. (The 'natural' thickness Annealing temperature: 545-560°C Standards AS2208 & AS 1288. of the glass, due to surface tension (1015-1040°F).* Holes: Diameter not less than glass and gravity.) Softening point: (Littleton definition) thickness, nor more than half Co-efficient of thermal expansion: Approximately 730°C (1345°F). * minimum dimension. 75-85 (x 10-7/ 0-300°C).* A single hole in the middle is Common commercial edge finishes: safest, but holes are not generally Density: 2,500 kg/m J Rough arise, flat smooth, flat polish, recommended (unless the hole is round polish or 'pencil' profile. (The Chemical durability: Reasonably ground and polished or the glass round polish is often only available resistant to both acidic attack and can reach fusing temperatures intact on circular shapes.) adverse effects of water, but II ke where the hole becomes well fire most glass, very susceptible to alkali Recommended horizontal span: not polished, or the hole is cast; holes damage such as the lime leached greater than 100 times thickness. render the glass weakened by an from concrete. Note that glass enormous factor, especially when Recommended largest length/width generally is 100 times more prone expected to support weight). ratio: 7: 1 to alkaline attack than acid. 'Solar' coatings: Reduce solar heat gain (Dishwashers are about the worst by up to 40%; require 7: 1light ratio possible environments for glass, to work as full mirror. especially the softer lead varieties.) Consequently, I would prefer cleaning solutions that are slightly acidic rather than the more popular neutral PH. • Varies from manufacturer to manufacturer.

A ... nl ••• IIIrI Important new work is being and full of promise in glass painting, done around the world in glass a place where their vision could add painting and related painterly to the growth of meaning and value techniques such as etching, fusing, in the world. lamination, etc. These fields are broad This sense of mission is apparent and many wonderful artists work in in several outstanding artists who have them. The works included here begun to do large scale architectural particularly emphasise the power work. Jean-Dominique Fleury would of the means of expression; an idea "like to lay down a touch of poetry Ellen Mandelbaum typical of much Modern Art. Washes in a solid building to re-establish a of paint, brushstrokes and colour take balance of warm-cold yin/yang". He on an important life of their own. is an outstanding French artist who Glass painting is a particularly uses heavily painted glass for large dynamic and flexible tool through architectural spaces. Windows are Ellen Mandelbaum holds an MFA which glass artists can break out of scribbled and painted with a sense of in painting from Indiana University the 'tyranny of the leadline' and the a life force, inspired by Chinese Taoism and currently executes architectural limits required to cut a very brittle and, possibly, Abstract Expressionism. commissions from her studio in Queens, material. Painting makes it possible to Graham Jones has used painterly create shapes of great complexity that techniques to add focus and a human New York. Originally published in are difficult to cut and to create varied element to many large speculative Professional . movement and blending. It is much commercial office buildings in England. easier to paint the features of a face He uses the simple geometric shapes than to construct them out of tiny of architecture contrasted to organic pieces of glass and lead. Drawing details of etching and painting. Derix and storytelling are natural. The Studios scales up his painterly drawings brushstrokes themselves are abstractly via photosilkscreen, which Jones later expressive of many kinds of feelings, adjusts with free painting. The art from a 'line of beauty' to jagged pain. consultant Andrew Moor suggests Glass painting is a flexible, that the use of texture in works such wonderful tool. The possibilities as Graham Jones' evokes questions are astonishing considering that, of decay and death; a humanistic historically, art has helped give form approach. and meaning to the world. Mainstream Joachem Klos has long been an art is, in many respects, jaded and imaginative and successful architectural cynical, while many glass painters feel painter, highly regarded by all the they have discovered something fresh German artists. He paints and draws

iii Ausglass silkscreened details against vast surface stand for "each individual life architectural spaces. He has painted lost in the Holocaust." Subject and form the surface of aentire glass wall with work together. Drawing and painting an almost continuous thin line. In in Patrick Reyntiens' narrative panels Walbeck, he summoned silver stain are more like Rembrandt than like and collage elements to create an traditional glass painting. overwhelming vision of horror and Mimi Gellman of Canada tends toward peace in 'The New Jerusalem'. Surrealism with surprising figures Around the world many fine defined by ascratchy line. artists have begun to define artistic Linda Lichtman's glass is very intense; interests and stimulating problems in this American artist uses many this field. Space permits mentioning techniques, especially etching and only a few of special relevance. enamel painting, and invents new Using paint to dramatise the light techniques to achieve appealing and removing paint to reveal the light work with sophisticated painterly is basic to glass painting. There is a and architectural goals. problem that, except for silver stain, From my point of view, colours of paint are less glowing than having worked in watercolours the colours of glass. Etching on glass and oils, I was very excited to keeps the glow but sometimes looks discover glass painting. Paint has like candy with astepped edge. Maya a life of its own. Brushstrokes Radoczy of Seattle now makes glass express a range of feeling from with hot glass techniques as though structured to free and spontaneous. she were painting. For example, she The changing flow of paint fuses crushed Kugler glass colours onto suggests subject matter, usually acompatible clear glass surface and landscaped, and lately wheat creates glowing colours that would and waterfalls (the lines are also work well as a background for the same for wheat growing glass painting. Udo Zembock, a up and waterfalls coming down). German artist now living in France, It is fascinating to relate this laminates glass and paints "to see the excitement to architectural freedom of colours in space." Lutz commissions. Haufschild of Canada has sensitively Reviewing the important stencilled silver stain and Jochem exhibit, 'Personal Visions/Silent Poensgen of Germany has dripped Voices', curated by Saara Gallin and spattered it to produce something at the New York Glass Workshop like sheet glass. Holly Sanford painted in 1991, critic Karen Chambers sheets of glass with platinum for a (in Glasswork #11, March 1992) New Zealand lobby. singled out the painted works: The motion of the brush is a basic "the broadest range of impetus for Helga Reay-Young, Yoshi experimentation could be seen Yamauchi of Germany, and Marie in the many artists who paint on Foucault, a Parisienne now living in glass." The works were actually New York. Albinus Elskus, also of New not technically showy but there York, uses it as astrong, free, abstract was something more important: element, particularly in his innovative the way glass painting allowed exhibition pieces. Systa Asgeirsdottir's the artists to reinvent their black brushstroke sweeps over many acquaintance with glass, colour, smaller pieces in her Iceland studio to the light, drawing and meaning. create monumental wall works visible

in reflected light. In 'Krystallnacht', Pointed lancet by Jean-Dominique Fleury, clear jewels in the passionately painted Toulouse, France.

AII"nl:llc.c. n . ,, . C" " ' " to Technical =t2 Terms ~~iItiIffI liti1iIe

::s Annealing: Maintaining a specific Cords: Grain-like streaks that reflect temperature long enough or local differences in refractive indexes cooling slowly enough when firing and that can render glass unstable. tQ glass down to reduce internal stress. Causes include impurities in glass melt and insufficient blending. Annealing point: A temperature in the Graham Stone annealing range that corresponds to : Type of blown sheet, a viscosity of 1013 poises and where made by opening the bubble while stresses in glass are relieved in the still on the pipe, then spinning into shortest time. aflat disc.

Baffle: Kiln barrier between glass Cullet: Recyclable broken glass mass for and elements or flames, but also re-melting to make new glass, or to sometimes flue cover in gas kiln. add to batch.

There are many misconceptions Bag wall: Permanent barrier between Damper: Chimney shutter that controls regarding the definitions of technical flame and work in a gas kiln. air intake in a gas kiln.

terms in our discipline. There are also Cased glass: Result of an initial gather Dichroic glass: Glass displaying variations in conventions and jargon dipped in molten glass of a different different colours, depending on the around the world and within any colour before blowing. viewing angle and whether light is reflected or transmitted. (Metallic one country. Cathedral glass: Machine made particles deposited on the surface clear, coloured or non- glass. scatter light.) Following is a list of technical terms (Not opaque, usually textured.) Enamels: Coloured powders made from that may mayor not be contentious. Clear : Kiln forming frit and metal oxides that contain They could clear up confusion, or techniques imparting minimal more glass than 'paints'. Produce indeed, add to it! In the interests or no mould texture to the glass. transparent or opaque permanent ofclarifying things, I invite readers Co-Efficient of thermal expansion: colours when fired onto glass. to take me to task over these A measurement of a material's : Sheet glass 'cased' with definitions, or simply to discuss expansion through a specified a veneer of one or more additional their various meanings. temperature range. colours to the base. Made by Copper wheel: Type of engraving dipping shaped bubble in separate involving the application of an colour melts before full blowing abrasive to glass surfaces with and used for etching and abrading the use of a fixed vertical wheel to reveal separate colour motifs. on a spindle.

II Ausglass Flux (Hot Glass): Batch chemical that Opalescent glass: 'Milky' Softening point: Temperature hot lowers melt or fusing temperature translucent glass. enough to cause viscous flow, and improves homogeneity. not enough to lose shape (when Paints (for firing on glass): Usually well supported). Alternatively, the Flux (Stained Glass): Permits lead black or brown tracing colours. maximum point reached on the soldering by removing oxidised (Elskus calls these 'glass stainers' complete thermal expansion curve surface. colours.) Contain less glass than of the glass. Strictly speaking, the enamels, tend to require higher Frit: Crushed glass in particle form or, S.P. is not the temperature at which temperature. less often, synonymous with batch. glass begins to bend, because that Polarising film: Used for detecting depends on many variables, but is Gather (verb): The action of picking strain in transparent glass by often used as such. up molten glass (from a furnace) sandwiching glass between two on the end of a blowpipe. Strain point: The glass temperature layers of the film and transmitting (noun): The molten glass gob on below which, effectively, permanent light through them. The light rays the end of a blowpipe. stress is not induced or relieved. reveal the maximum difference in Lower end of the annealing range. : Inflating molten glass levels of stress when the layers are from within by gathering on the at right angles to one another. Striking: Permanent colour end of a pipe, then blowing transformation during firing within Pot colour: Glass coloured in the through the pipe. a particular temperature range. furnace rather than outside it so Glassforming: Kiln shaping of glass. that the colour is not confined to Temporary strain: Examples include Also an umbrella term for all glass the surface. sudden impact and temperature firing techniques. variations in the one piece of glass. Punty: The metal rod attached to the If glass survives the impact, the Graal: Technique involving a flashed opposite end of blown work prior to strain is dissipated, leaving no colour blank being abraded with detaching the blowpipe. Detaching residual tension. motif prior to reheating, over the punty is the final stage before gathering and blowing. work is placed in the lehr. Thermal history: The previous heating and cooling experiences of glass Hard glass: Glass with a high softening Reducing atmosphere: Kiln or furnace above the strain point. point (not necessarily glass with a atmosphere deficient in oxygen high hardness index). (being burnt off). Three-phase power: Electricity supplied in 3 'streams', each out of phase Iridescence: Glittering display of Short glass: Glass with asteep with the other. Enables greater interchanging rainbow colours. viscosity/temperature curve, energy supply than single phase. requiring speedy manipulation. long glass: Glass with ashallow Also called 'short natured' or Tracing: Painting on glass in (usually temperature/viscosity curve, 'quick setting'. dark) lines. making it easier to work (also called 'sweet glass? Sillimanite: A refractory substance Vitreous paints: Umbrella term for mainly comprising of a silicate paints, stains and enamels. Machined antique: Drawn coloured of alumina. glass sheet made to look hand made. Examples include German Soft glass: Glass with a low (GNA), French and Russian. softening point.

Marver: Flat polished metal bed for rolling molten glass on.

Matting: Applying opaque paint to broad areas of sheet glass.

Mild steel: 'Everyday' steel (not stainless).

Onglazes: High firing opaque paints, used for ceramics and glass.

. __ .. RiI Chaos making a new science by James Gleick a Cardinal book (ISBN 0747404135)

Chaos attracted an oddball I list a few of the things that these Bob Wilson collection of Technicians, guys got into: Mathematicians, Research Workers, :: Mathematicians did sums by the Academics, and Computer Nuts. At million using digital computers. the start there was no word for their Normally they use their craft to activities, but a common thread running avoid repetitive calculations. through their studies was non-linear Technicians did experiments to Chaos is where art and science meet, mathematics. This is a branch of maths explore experimental errors. the artist should be there with the the established mathematicians regard .... ~ Academics formed communes to scientist for their mutual benefit. as too hard because it does not respond work on non-linear maths, while to classical mathematical rigour. The others worked surreptitiously, and real world, however, has non-linear in their own time, because Chaos events going on all the time such as was not a respectable or fundable the weather, backlash in a gear box, academic subject. turbulence or organic growth. The Theorists found creative stimulus in people interested in these real subjects the work of great artists who were started using new techniques to shed 'pseudo-scientists' such as Goethe light on the problems that the scientific and Schwenk. establishment did not want to know Here is a brief list of some of the things about. that they turned up: Mr Gleick's book traces the They found afew lines of computer events, images and people who were code could plot a picture of a at the foundation of the new subject biologically recognisable fern that came to be known as Chaos. The in great detail. name is suitable. If you observe the ;; They annihilated the philosophy release of energy in a big thunder that the mechanical course of the storm, or experience the chatter of universe is predetermined. an overloaded lathe or follow the :; They have made it clear that behaviour of a well fancied horse in existing mathematics only describes race 5, you are looking at chaotic a part of what goes on around us. events in the older and the newer < The images they generated provide meaning of the word. an aesthetic compulsion to investigate further. They have legitimised the 'gambler's lucky strea k'. They have evaluated a number (4.699--) that takes its place with 'IT' (3.141----) and 'e' (2.718---) to help us evaluate the world around us.

II Ausglass " They HAVE NOT discovered a 'Chaos Theory'. The subject is still being explored so we can all keep our eyes open and share in the question 'What does it all mean?'.

Let me outline why Chaos could interest the glass artist. The way I see it, for ages some glass pieces have been athree dimensional blackboard for mathematical ideas. Look at peoples Observations fascination with basic geometric shapes made from glass, such as spheres, Marc Grunseit cylinders or pyramids. Or the way people will play with afew twisted canes as they investigate the properties of sine waves! Crushing glass the other day A lot of the heavy mathematics it struck me as quiet mad to buy of Chaos involves topology, which is relatively expensive glass so I could put the study of surfaces and shapes and it ina tyre tube to smash it up with a the folding, stretching and inflating small sledge hammer. Though it does of these. This is the stock in trade of have the advantage of releasing glass blowing. 50 again glass may be aggression, so when you end up in line able to ill ustrate a new sci ence. in the supermarket to purchase asingle Chaos is found lurking in item and only two of the twenty boundaries and frontiers. The registers are open for forty customers wonderful intricacies of the you manage to smile with clenched 'Mendalbrot set' are found in the teeth at the 'check-out chick' instead boundary between the points that are of strangling her. Only one major problem with members and non-members of his set. Anyway, back to the glass; the all this smashing of glass, it can be The glass blower works with transformation, by smashing off sharp somewhat detrimental to your health plenty of boundaries, they exist where glass shards which require bandaids if if a mask isn't worn. I forgot mine the dissimilar glasses are fused together, or mishandled, to rounded glass chunks other day so I wet ascarf and tied it between regions where copper oxide which feel quite soft to run your fingers round my head to cover my nose and is either di-valent or tri-valent. A close through, is amazing. They transform mouth. Once glass dust is flying the look at these boundaries show patterns again after kilning into sharp edges scarf dries out very quickly and needs that are not described by conventional if the pate de verre piece is kept very to be redampened, but after a few mathematics. granular rather than left longer for the times it starts oozing awhitish liquid; May I suggest that a glass artist particles to melt into each other. But I awhole new concept of liquid glass. who is interested in any of this stuff, guess that's part of the fascination of I left the smashing and sieving then, gets hold of this book and looks at the working with glass, it's ability to be having learnt there really isn't an illustrations. If the images excite his/her formed into so many tactile states. alternative to a good dust mask. curiosity then have a go at the text. If the narrative is good but the maths and technology is too heavy, then bottom-hole a chaotic mathematician and crack a bottle of red, or a mutually acceptable substance, and have a good session on the subject. Chaos is where art and science meet, the artist should be there with the scientist for their mutual benefit.

AIl<.nlaor::c n ~ News

Cultural Exchange Opportunity Culture at the Crossroads Performer, former Australia Cross cultural exchange Council member and Adelaide Festival on : sharing ideas, Director Robyn Archer, businesswoman techniques and creativity. Janet Holmes a Court and Council Chair Melbourne glassmaker Kazuko Dr Margaret Sea res are just three of Eguchi has been selected as a Japan the keynote speakers who'll air their Foundation Fellow for 1998. views on the effect of arts, cultural, Her proposed project is to media, and telecommunications policies establish a cross cultural exchange on at the Cultural Crossroads conference, glass art, and to encourage the sharing the Australian Key Centre for Cultural of ideas, techniques and creativity and Media Policy confirmed today. between glass artists. The conference, assisted by She will stay in Japan for six the Australia Council, which will months, beginning early 1998, and visit take place in Sydney at the end of such institutions as the Toyama Glass November, will bring together policy institute on the recommendation of makers, industry workers, artists, the Hokkaido Museum of Modern Art. creators and academics to debate A feature of the project is to the rapidly changing patterns of the introduce the work of contemporary relationship between public and Australian glass artists to various private and their implications for the institutions in Japan, including galleries. future development of Australia's arts, To carry this out Kazuko Eguchi culture, media and communications would greatly appreciate interested industries. Australian glass artists sending her For further information about the three or four slides as soon as possible, conference, contact Ka ren Perki ns at giving technical details; a brief the Australian Key Centre for Cultural curriculum vitae; and short statement and Media Policy on (07) 3875 5350 or about your art, ideas, principles, and by fax on (07) 3875 5511. why you use glass as a medium of expression. Furnace for Sale This information will contribute towards the public lectures she gives in Jan Blum's glass blowing furnace Japan about contemporary Australian (by Vaughan Bryers), as used in the glass artists and their work. movie 'Oscar &Lucinda', is for sale. Kazuko Eguchi's address is: The 'bargain basement' price is $10,000 6/11 Rose Street and includes the glory hole. Ivanhoe Victoria 3079 Call Jan Blum on (02) 9564 1398 Australia or Ian Johnstone on (02) 9564 5078 Ph: (03) 9499 4546

• Ausglass ~~ '",~',I?

~ . ./ ."-"'-..\ -­\ l~ I .-­) I

HiGlass 'Gin' Range New Gallery HiGlass have added some A new gallery dedicated to glass exciting new colours to their 'Gin' is opening at the end of October in range, including a ruby red that strikes Melbourne. Called 'Glass Mainia', it when fired. If you've encountered will also be retailing glass supplies to compatibility problems in the past artists. Anyone interested in exhibiting (I did early on) its bound to be due should contact: to the fact that the float is not from Rikki Main Pilkington Australia. Glass Mainia The devitrification problems 477 Glenhuntly Road still have to be dealt with when using Elsternwick Victoria 3185 the Gin range but the colours and Australia compatibility are so good, it is worth it. Ph: (03) 9528 4832

•.. __ . I!IIf!I ~ en From. t+····· n.. . .QJ.., ""~ ten

•Colin Reid: Cast optical glass commission for Standard Life offices in London. ... Not any more The mixed media piece is they don't! 2.5m high and inspired by Mies Grybaitis the lotus, in reference to the & BJ Katz in historic site (formerly the East Pheonix India Co. premises). r- from the President Jane Bruce

If any of my friends in New York The Newsletter (t) had told me five or even three years • Making it relevant to the ago that in 1997 I would be living in membership and publishing Australia and be president of Ausglass it on a regular schedule. ,., I would never have believed them. But And lastly we are beginning travel broadens the mind and change to plan the next conference. can be seen as a catalystic to move forward, to grow. I am sure that most of you know Over the next two years Ausglass at least one member of the board and will change, it will move forward and it even if you don't, please feel free to will grow. However, how it will change communicate your thoughts, ideas, and what form it will grow into is as criticism or praise to anyone of us. much your responsibility, as members, as it is mine or the new board's. I would The Board is comprised of: like all the members to be involved, Jane Bruce, President to take part in shaping the future of Dec/an Somerville, Treasurer Ausglass. It is your organisation and at Maggie Stuart, Membership Secretary this time it is vital that everyone thinks Rozlyn de Bussey, Secretary about Ausglass; what you want the Brian Hirst, Chair, Sub-committee organisation to be and what you want for the constitution it to do for you. Michael Whitely, Pauline Delaney, Here are some of the things the Ede Horton, Maureen Williams, board is thinking about and taking Meza Rijsdijk (fund raising) action on: A new draft constitution should The Constitution be ready for mailing to members for • Rewriting it to reflect where approval next month. Ausglass is in 1997 and where Let us all work together to take we want it to be in the year 2005. Ausglass, us, into the 21 st Century.

Membership Thank you. • Structure, levels and benefits. • Funding and financial structure. • Putting in place an ongoing fundraising and financial structure which will not revolve around each conference.

Allcnl::.cc ~ n o ~'.%5 Access ~.'.' .. ... Workshop ·~'··.,···. C.' ". . ;. . '. " Kiln Working ~ A five day hands-on course with Allan Crynes Aspects of Fusing, Slumping, Casting, Pate de Verre and more, all rolled into DJ one intensive week! When: Monday September 29 to Friday October 3, 1997 Time: lOam - 4pm Cost: $350 ($50 deposit secures a place), c.n Payable to the Meat Market Craft Centre I"'" V" and Slumping A five day hands-on course with Neville Spears and Graham Stone The course involves melting pieces of glass together in a kiln and slumping into moulds to create functional or decorative objects. Basic glass cutting an advantage I\~E'\T but course is open to all. 1\t1'\I~I~ET When: 5 Sundays; October 5,12,19,26 and November 21997 Time: lOam - 4pm Cost: $350 ($50 deposit secures a place). CI~\FT Payable to the Meat Market Craft Centre CENTI~E Sandblasting, Engraving &Surface Decoration of Glass A four day hands-on course with Tony Hanning ~\ This course involves decorating the surface of flat and formed glass, principally involving sand·blasting, a form of abrading or etching. It delivers a characteristic granular frosting to the glass surface and can be used to 'carve' glass. Tony's extensive ''Vii knowledge makes him a leader in this field, No experience necessary. When: Tuesday October 28 to Friday October 31 1997 Time: lOam - 4pm Cost: $250 ($50 deposit secures a place). Payable to the Meat Market Craft Centre All courses are held at the: Meat Market Craft Centre, 42 Courtney Street, North Melbourne A five day hands-on course with Helen Stokes Vic 3051 (Cnr. Blackwood Street) This course features the Lost Wax Process of mould making, with an emphasis Contact Graham Stone on fibreglass hand-built moulds,

for more information on: When: 5Saturdays; October 18 &25 and November 1, 8 &15 1997 Time: lOam - 4pm Phone: (03) 9329 9966 (ext. 33) Cost: $350 ($50 deposit secures a place). Fax: (03) 93292272 Payable to the Meat Market Craft Centre

I Ausglass ~ i::.~~..., ~~ g·.G ~ ~.,. • ....., '.II!l\. ~ .. \#"~ J!lV'-' ~ ~~.. ... ····,...... • • ...." • • : t .. ~ ~U ~n:o::"~~6~lJlbW

On October 28, 1994, an Recommendations accident with hydrofluoric acid 1 Ensure that work is carried out in 7 Laboratories should conform to led to a person's death. accordance with the Material Safety Australian Standard AS2243 for Whilst sitting at afume Data Sheet provided by the Laboratory Safety. cupboard processing mineral samples, ma nufactu rer/su ppl ier. 8 Persons should not work alone a laboratory technician knocked 2 Plan work in the knowledge that with hydrofluoric acid. approximately 100mls of hydrofluoric any exposure may cause permanent acid onto his thighs. Immediate 10% incapacity or death, i.e. absolute Editor's Note: Though this accident body burns ensued. Tragically, and protection. happened some time ago and did despite rapid flushing with water and 3 Where practicable, substitute not involve glass work, its lessons are emergency hospitalisation, he died less dangerous substances. perennially relevant. I am indebted 15 days later. 4 Alert workers to the lethal to the Department of Occupational Contributing Factors properties of hydrofluoric acid. Health for the accident summaries they 5 Train workers in safe work produce to prevent future accidents. • Corrosive and systemic poisoning procedures, personal protection Note that the calcium gluconate gel properties of hydrofluoric acid and first aid/emergency procedures is not only worthwhile for applying following dermal exposures, in accordance with the the Worksafe to the skin but also for sub-cutaneous i.e. 2% body burns from 70% Guide on Hydrogen Fluoride 1989. injection. Take it with you to the hydrofluoric acid may cause death. 6 Ensure that safety showers, hospital, don't rely on them having • Failure to protect skin from eye wash facilities and calcium any, or ~nowing what's required. exposure. gluconate gel are available • Failure to restrain cups of wherever hydrofluoric acid is used. hydrofluoric acid in secure holders. Anthony Terry is the Director • Failure to apply neutral ising cream of Occupational Health in the (calcium gluconate gel). • Lack of emergency Department of Occupational pi ann ing/fac iiiti es/perso nne I. Health, Safety and Welfare • Poor work station design. in Perth, Western Australia.

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

AII!l:nl.il!l:~ n