RANAMOK GLASS PRIZE 2011 Underwriters of the 2011 Ranamok Glass Prize

RANAMOK GLASS PRIZE SPONSORS 2011 Contents

The Ranamok Glass Prize 2011 3 Introduction 4

Finalists Masahiro Asaka 6 Jennifer Kemarre Martiniello 38 Annette Blair 8 Laurel Kohut 40 Kristel Britcher 10 Warren Langley 42 Lee Brogan 12 Kim Logue 44 Tillie Burden 14 Nikki Main 46 Christine Cathie 16 Kristin McFarlane 48 Brian Corr 18 Wayne Pearson 50 Samantha Cuffe 20 Anne Sorensen 52 Mel Douglas 22 Di Tocker 54 George Drobac Taniani 24 Emma Varga 56 Andrea Fiebig 26 Richard Whiteley 58 Brenden Scott French 28 Keryn Whitney 60 Alasdair Gordon 30 Clare Wilson 62 Rish Gordon 32 Nick Wirdnam 64 Sue Hawker 34 Kayo Yokoyama 66 Jenny Judge 36 Take T Yusuke 68

Finalists’ Biographies 70 Glossary of Glass Terms 80 The Judges 83 2010 Recipient 84 Ranamok 2011 Tour Dates 85 Acknowledgements 85

2 The Ranamok Glass Prize 2011

This is the fi nal year for judges Tina Oldknow and Geoffrey Edwards. Both Tina and Geoffrey brought many years of important experience and very important perspectives to the process and this year’s exhibition (as well as the Ranamok Prize itself) is certainly much stronger for their input. Thank you both for your guidance. Louise Doyle also joined us this year as a judge. Louise has ‘done time’ as a judge with Ranamok back in 2000. Louise brings a wealth of experience, knowledge and perspective to the process. I would also like to take this opportunity to thank the Directors of Ranamok for their continued guidance. Over the past year, one of our founding directors, Jane Burns, decided to resign from the board. We thank Jane for her wise counsel over the years. Subsequent to Jane’s resignation, we asked one of our past judges, Jacqueline Clayton, if she was interested in fi lling the vacant board position and were delighted when she accepted our offer. The process of selecting this year’s fi nalists again went without a hitch thanks to the professionalism of our administrators, Elizabeth MacDougall and Peta Mount. The administration of the Prize and creation of the catalogue is a big job and requires skill and perseverance to do it properly...thanks and well done. The judging panel think that this year’s fi nalist exhibition looks very, very interesting. There are some surprising and exciting works in the exhibit, created by both emerging and established artists, and we are looking forward to seeing all of the works ‘in the fl esh’ at the Canberra Glassworks in August. Andy Plummer

It is reassuring to see the continuous representation of both emerging and established artists. Often this fl ow is cyclic, ensuring an ever changing eclectic mix of works that present new views through the wide variety of concepts and disciplines in contemporary glass. Not all can appeal and yet so many will please, always ensuring room for exchange and inspiring debate. What is so important about the Prize is that it allows an annual focus on glass, initiating interest and exchange by people from all walks of life, stimulated by the diversity of works presented. I take this opportunity to once again thank all those who have contributed on so many levels to make this Prize the success it is today. Maureen Cahill Glass Artists’ Gallery Co-founder, Ranamok

3 Introduction

Thanks to the generosity of the people at Ranamok, left glass for other materials. The same goes for Ranamok. notably Andy and Deirdre Plummer and Maureen Cahill, Scrolling through the past lists of Ranamok fi nalists, I was able to return for a second round of judging in 2011 I noticed a mix, as I mentioned, but I also observed that with jurors Louise Doyle, Geoffrey Edwards, and Andy the trend of established artists dropping out had begun Plummer. Our time together, via Skype, was amiable and in earnest by 2006. fun. My thanks go especially to Elizabeth MacDougall, In the case of New Glass Review, I concluded that it Jo Little, and Peta Mount at Ranamok, who do so much seemed to best serve artists who were in the process of organisational work on short deadlines, and to my hosts embarking on professional careers. There are always the Ann Jakle and Clare Belfrage at the beautiful Canberra experienced professional artists who apply in support of Glassworks, where I look forward to being very soon for New Glass Review—and hopefully to publish new work— the Ranamok opening. just as with the Ranamok Prize. And then, there are the The group of Ranamok Prize applicants has always been growing numbers of emerging artists. What this signals a mix of well-known and little-known names in Australian to me is that there is a generation of artists working in and New Zealand glass, artists young and old, art school glass in Australia and New Zealand who have moved graduates and self-taught practitioners. This kind of mix on from Ranamok. They are known and they have built is healthy, but this year I felt the absence of many of the careers; they may be struggling right now (as everyone is) better-known artists, who had not applied. Most of the but they are on their professional paths. And all of their 2011 applicants were new to me, and many had graduated students, whether in academic or other programs, are within the last few years. Of course, well-established artists coming to the fore with their work, hoping to be noticed such as Warren Langley and Richard Whiteley did submit on the international stage that Ranamok has become. their work, perhaps more in support of Ranamok than The most rewarding part of jurying for me, of course, anything else. Because they, like so many others, don’t is seeing new work by artists known and unknown to me. really need Ranamok anymore and that, actually, is cause Warren Langley is someone whose work I know well, and for celebration. he always impresses me with the high quality and originality After a couple of years as a juror on New Glass Review of his projects. With his digital images, “encapsulated” in Corning, I looked at the publication closely, because in glass and lit from behind, Langley moves the fi eld I wanted to know its history. (We are now going into of photography in/with/on glass to a completely new New Glass Review’s thirty-third year.) In the early years, place. Closed System (ocean) and Closed System (land) are related many well-known artists applied, and gradually, over to Langley’s outdoor installations with remote source time, their numbers dropped. Of course, the majority of lighting, but they represent a different approach and level those artists were not “household names” in glass in the of control. In my opinion, these images are extraordinary early years but, over time, had built careers and attracted and they fi t in comfortably with mainstream contemporary a following. And many early applicants had disappeared photography (think of Richard Misrach, for example) altogether, having stopped making work, perhaps, or having as well as Land Art.

4 Other works exploring nature that intrigued me were Moving to more abstract representations, I was drawn Nikki Main’s observantly detailed Ash Stones, and Kristin to the organic shapes of Kristel Britcher, Samantha Cuffe, McFarlane’s Genus Typographica. Each of McFarlane’s Emma Varga, and Clare Wilson. Britcher uses what look kiln-formed butterfl ies has non-natural details, such like occhi murrine cubes to form crystalline structures, while as superimposed images and text, which give the work Wilson uses a common bowl to create a memorable, a Victorian spirit of scientifi c documentation, but also segmented insect- or plant-like ring. Cuffe uses silvering, a sense of passing time, and perhaps personal memories which has become very trendy, in a thoughtful way that that might be attached to the insects. With its nested enhances the graceful shapes of her vessels. Varga, who forms, Take T Yusuke’s Three Generations reminds me is again no stranger in glass, has embarked on a new path of some kind of animal skull or plant pod. in her work that is intriguing and rich in potential. From her green “growth” pieces of last year, she has turned Wayne Pearson’s portraits are very well known, but I was to an exploration of white, which removes narrative and especially pleased that his pensive portrait of the artist adds a minimalist quality to the work. Deb Jones made the cut. Pearson demonstrates that it is not enough to be accomplished in technique to make Everything is connected, and the debt to nature of a vivid portrait: you have to really know what making the minimalist works by Brian Corr, Mel Douglas, and a portrait means, whether it is in stone, wood, or painted Richard Whiteley is evident. The forms of the natural on glass. Annette Blair’s Friday Afternoon is a very different world, stripped down to their essences, are geometric, type of work, a trompe l’oeil that evokes pleasant memories and in this group by three recognized artists, we have of visits over tea and coffee. Blair’s technique may be three variants of the circle. Douglas, always elegant, reminiscent of someone like Piero Fornasetti, but she makes careful allusions to light and shadow, as does Corr, deconstructs the fi gure in a way that is less decorative and whose subtle treatments of white on white need careful more personal. All I need to say about Alasdair Gordon, lighting to be properly appreciated. Whiteley‘s sculptures who is also very well known, is that his work is consistently can have the unusual and slightly disorienting quality of excellent, and that he has the uncommon ability of appearing both two-dimensional and three-dimensional, breathing new life into traditional themes. and their volumes may be unexpected. His forms are disciplined and reduced, yet they retain a complexity Having considered representations of people, I can now and sophistication that refl ects Whiteley’s strong move to their possessions, which inspired the vessels theoretical base. by Sue Hawker and Jennifer Kemarre Martiniello. Hawker’s Joseph’s Ewer, of course, refers to Joseph’s Tina Oldknow coat of many colors, and her ewer is, well, just crazy in Curator of Modern Glass the best way possible, sassy, and humorous. In her Fish The Corning Museum of Glass Traps, Martinello has created a novel opportunity for the reworking of the traditional Venetian filigrana technique, which she applies to an equally traditional, and even more ancient, form of aboriginal basketry.

5 Masahiro Asaka Curtin, Australian Capital Territory, Australia

Surge 12 Heat transforms the state Cast and cold worked glass of glass from solid to liquid. The mass of the glass inside 32 H x 35 W x 50 D cm the mould collapses under gravity and density increases as melting continues. My process allows the object to inherit both the beauty of the material as well as my desire to control it.

Photographer: Rob Little 6

Annette Blair Queanbeyan, New South Wales, Australia

Friday Afternoon You could always tell what Blown glass with glass enamels day it was when the teacups were laid out on her table 60 H x 65 W x 9 D cm with a passionfruit sponge cake. We spent a lot of our childhood around that table and in this piece I use the teacup as a symbol of time shared and memories made.

Photographer: Stuart Hay 8

Kristel Britcher Brompton, South Australia, Australia

Crystalline Compositions The Crystalline Compositions III, IV, V are inspired by naturally Blown, cold worked and hot occurring crystal formations. joined glass These compositions are constructed piece-by-piece to 18 H x 18 W x 18 D cm create a geometric structure 12 H x 10 W x 12 D cm that appears to have evolved 12 H x 12 W x 12 D cm naturally in its own time.

Photographer: Michael Haines 10

Lee Brogan Kerikeri, Northland, New Zealand

Ficticious Shores A twist of rice paper emerges Pâte de verre, Japanese rice from a relic of a WWII grenade paper and ink like a message in a bottle or a slow burning wick. 8 H x 54 W x 54 D cm Maybe it is a wreath for Hiroshima, Nagasaki, Fukushima.

Maybe it asks a question...

Why?

Photographer: Lee Brogan 12

Tillie Burden Copenhagen, Zealand, Denmark

Adam's Apple In considering whether Blown, hot formed and this body of ours is merely engraved glass a container of sorts, might we ask what is at the heart 24 H x 22 W x 22 D cm of this vessel?

Photographer: Mikkel Mortensen 14

Christine Cathie Herne Bay, Auckland, New Zealand

O-void From thick to thin, matt to Cast lead crystal, acid etched shiny, fl uidity and balance. and polished

37 H x 67 W x 13 D cm

Photographer: Christine Cathie 16

Brian Corr Ainslie, Australian Capital Territory, Australia

Beyond Light and Shadow I continually seek a deeper Kiln formed, waterjet cut, cold understanding of the world worked and constructed glass in which we exist and the nature of our experience 48 H x 79.5 W x 15.5 D cm within it. Working with the elements of volume and void, light and shadow, I create sculpture and large-scale installations which offer an opportunity for contemplative and meditative experience.

Photographer: Rob Little 18

Samantha Cuffe Carlton, Victoria, Australia

Warped Warped makes obvious the Blown glass with mirrored disconnect between our real interior selves and the refl ections we perceive in the mirror. It plays 6 H x 14 W x 14 D cm with the subjectiveness of 12 H x 21 W x 21 D cm body image and allows its 16 H x 21 W x 21 D cm audience to question how they are seen within their environment. Its fl uid form creates distortions and denies the spectator an ideal image.

Photographer: Christopher Sanders 20

Mel Douglas O'Connor, Australian Capital Territory, Australia

High Tide The simplicity of my work Blown, engraved and cold suggests stillness and silence, worked glass a meditation on the elements and concepts of light, space 27 H x 42 W x 42 D cm and time. My recent work draws inspiration from the changes that occur within the landscape with the fading light, the quiet shadows that appear with the last light of day.

Photographer: Stuart Hay 22

George Drobac Taniani Perth, Western Australia, Australia

Point Black Cosmic perfection of Circle Fused and slumped spectrum and its relation to Genesis dot, glass and metal frame are hypothetically presenting some kind of Metamorphosis 107 H x 80 W x 37 D cm into Living Being and its fi rst step into the Great Unknown.

Thankfully to our colour vision, Institution of Points is perceived as a perfectly arranged Chaos.

Photographer: Tim Lofthouse 24

Andrea Fiebig Millswood, South Australia, Australia

Skin Surprisingly, this simple vessel Blown and wheel cut glass is a medium for me to explore ideas about skin and the 30 H x 10.5 W x 10.5 D cm appearance of form through the surface and the substance of glass. The techniques of murrini and wheel cutting are the means by which I do this.

Photographer: Mike Haines 26

Brenden Scott French Kensington, South Australia, Australia

Tectonic Trace #2 With geological timelines, Kiln formed glass natural formation and built structure gazed upon through 101 H x 91 W x 5 D cm material and technical tradition, Tectonic Trace #2 is an exploration into the vibrancy of new found relationships, of stumbling across particular blues that elevate with optimism and resolving hazardous compositions to sit convincingly within the frame.

Photographer: Grant Hancock 28

Alasdair Gordon Palmyra, Western Australia, Australia

Ribbon Dance Think for a minute what it Blown, overlaid colour, means to carve a human copper wheel engraved glass fi gure on glass. Skin, hair and drapery is softened to a matt 26.4 H x 13.2 W x 13.2 D cm fi nish by the engraving wheel and fl ows one into another – a textural illusion.

Photographer: Kevin Gordon 30

Rish Gordon Palmyra, Western Australia, Australia

African Painted Dogs African Painted Dogs are little Blown, triple overlaid, known and have been hunted sandblasted and engraved glass by man almost to extinction. I have mapped out the animals 19.5 H x 22 W x 22 D cm by sandcarving through layers of colour, then engraving the details to add texture. I used their expressions and patterns of their coats to create an allover pattern.

Photographer: Kevin Gordon 32

Sue Hawker Kerikeri, Northland, New Zealand

Joseph's Ewer Legend suggests that after Pâte de verre Joseph’s Dream Coat was taken from him, a slave woman 50 H x 45 W x 30 D cm unpicked the rough yarn and wove it into an exotic ewer, a vessel in which only dreams could ever be stored. In my own dreams, this is how I visualise Joseph’s Ewer.

Photographer: Ron Hawker 34

Jenny Judge Titirangi, Auckland, New Zealand

Discarded This moving vessel uses Kiln formed, cold worked, hand antique metal castors to help and acid polished glass with it along. By replacing its worn metal castors parts with found objects the vessel develops a new purpose, 23 H x 16 W x 23 D cm and saves itself from being discarded once again.

Photographer: Jenny Judge 36

Jennifer Kemarre Martiniello Rivett, Australian Capital Territory, Australia

Fish Trap 4 This work, by Aboriginal artist Blown glass with canes Jenni Kemarre Martiniello, was inspired by traditional 62 H x 22 W x 22 D cm Aboriginal reed-constructed fi sh traps from Northern Australia. Its organic shape Fish Trap 8 mirrors that of traditional Blown glass with canes fi sh traps, which were bound with grass twine coated in 75.5 H x 22 W x 22 D cm resin. The artist gratefully acknowledges the support of the Canberra Glassworks and the Thomas Foundation.

Photographer: Belinda Morgan-Pratten 38

Laurel Kohut Bentleigh, Victoria, Australia

Part of a Pair Objects of courtship and Blown, cold worked and romance bring forth many assembled glass emotional memories. They intrigue and delight, yet 10 H x 60 W x 10 D cm also are strong reminders of loss. Hanging near the soft perfumed skin of the neck, the earring assists in rituals of courtship and seduction. Like the earring, we desire to become part of a pair.

Photographer: Andrew Barcham 40

Warren Langley Queenscliff, New South Wales, Australia

Closed System (ocean) Closed Systems use images image: Idiz/Shutterstock of profound natural beauty Encapsulated digital image embedded with lighting in glass with selective rear constructions to comment light construction on the delicate balance of our own planetary closed system. 160 H x 140 W x 6 D cm They address the essence of glass as a material. Only glass in conjunction with this Closed System (land) embedded digital image can image: Richard Glover allow transmission of light Encapsulated digital image to contrived locations. in glass with selective rear light construction

160 H x 140 W x 6 D cm

Photographer: Craig Bryant 42

Kim Logue Kerikeri, Northland, New Zealand

Exposed Every hardship Cast glass with nail inclusions Each painful loss I weave my cloak 30 H x 30 W x 30 D cm My protective armour Until I've become unrecognisable My life's journey stopped Simply forgotten Shields wear thin Fractures appear Remembering that It's ME who matters Spilled my guts Exposed my soul Restart my journey Wearing stylish clothes

Photographer: Ron Hawker 44

Nikki Main Weston, Australian Capital Territory, Australia

Ash Stones How easily our country burns, Blown glass leaving a denuded landscape with little visible but ash and 15 H x 34 W x 15 D cm stones. Rivers are bared and 13 H x 18 W x 16 D cm water falling as rain asserts 10 H x 19 W x 19 D cm great erosive power.

In my stone-like pieces, I use glass powders on the outside layer, drawing the eye to the skin of the forms.

Photographer: Stuart Hay 46

Kristin McFarlane West Essendon, Victoria, Australia

Genus Typographica This piece suggests an attempt Kiln formed and cold worked at analysing, documenting and glass, silver leaf, decals and categorising the transience printed inclusions of memory through the use of images of fragility and 34.8 H x 77.8 W x 2.1 D cm treasured fragments of text.

Photographer: Ruby Studio 48

Wayne Pearson Lane Cove, New South Wales, Australia

Deb Jones This is one of a series of Reverse painted glass enamels portraits painted for my Voices in the Glass series. 60 H x 60 W x .6 D cm Deb is a glass artist working as Studio Designer at the JamFactory, Adelaide. Deb was a founding member of the Blue Pony Studio and operates her own individual practice now based at Studio 8.

Photographer: Marina Bishop 50

Anne Sorensen Bouvard, Western Australia, Australia

Imbalance in Red For me there is an instinct to Kiln formed glass create order from chaos. I have tried to achieve a harmonious 5.5 H x 35.5 W x 35.5 D cm result from an asymetric object. Creating brief glimpses of clarity. This apparently simple piece is created from a great many pieces.

Photographer: Kerina Puttman 52

Di Tocker Ohaupo, Waikato, New Zealand

Stick to Your Knitting With Stick to Your Knitting, I aim Flameworked borosilicate to make comment about losing glass rods, found glass beads time-honored and treasured and mono-fi lament nylon skills such as knitting and other home-making crafts. Will these 200 H x 145 W x 25 D cm skills get lost as generations move on?

Photographer: Grace Carson 54

Emma Varga Collaroy, New South Wales, Australia

White - Frost This year my work is marked Fused elements, cast, by an increased fascination ground and polished glass with (colour) white.

10 H x 50 W x 50 D cm Inspiration comes from various sources, some of them as disparate as forests frozen during the harsh winters of White - Soft continental Europe and the Fused and cut glass magnifi cent rounded panicles elements assembled of the tiny soft white fl owers in stainless steel tray of the Lemon Myrtle. 8 H x 48 W x 48 D cm

Photographer: Emma Varga 56

Richard Whiteley Queanbeyan, New South Wales, Australia

Cone and Plane The works are built from the Cast and carved glass inside out; voids are ordered fi rst and structures are built 47 H x 47 W x 14.5 D cm to encapsulate these spaces. The works explore space; using glass as a substrate activated by light. The material qualities of glass are the agents within the work that create the dialogue between voids and solids.

Photographer: Greg Piper 58

Keryn Whitney Hastings, Hawkes Bay, New Zealand

Destruct; Construct Many “chefs” take Blown, deconstructed, their inspiration from fl ameworked and kiln deconstructing classical dishes. formed glass Taking the ingredients and re-inventing them into a “new“ 22 H x 25 W x 22 D cm classic – so why not glass? In this piece blown glass was cut then individually fl ame worked, constructed into shape and kiln fi red.

Photographer: Sonya Lethbridge 60

Clare Wilson Kensington Park, South Australia, Australia

Connected This work was inspired by Blown, cut, fused and the idea of a bowl without sandblasted glass function and by the idea of glass objects supporting one 35 H x 35 W x 13 D cm another despite the fragility of the material. Each piece is joined to another to support and create the whole fi nished object; without each piece it could not exist.

Photographer: Clare L Wilson 62

Nick Wirdnam Brighton, Victoria, Australia

A Preserved Wish Superstition is an irrational Blown and hot sculpted glass belief or notion.

18 H x 11 W x 11 D cm However I am not prepared to discount it as there may possibly be some truth to it.

So I should accumulate as much of this intangible resource as I can to increase whatever hope these objects offer for my future security.

Photographer: David McArthur 64

Kayo Yokoyama Blackheath, New South Wales, Australia

Homeland - Among Trees The chair represents where Blown and engraved glass, I belong; homeland is a place enamels and metal I search for. Whilst I am sitting among trees, I am 42 H x 42 W x 42 D cm in my homeland.

Photographer: Ona Janzen 66

Take T Yusuke Ashfi eld, New South Wales, Australia

Three Generations This work is inspired by Blown and cold worked glass the power of people to overcome incredible 22 H x 50 W x 22 D cm obstacles in their lives.

Through the use of various forms, multiple layers and unshapen holes in clear glass, my intention is to express the continuity of people’s lives over generations as deep-rooted fl owers and strong, united hearts.

Photographer: Yusuke Takemura 68

Finalists’ Biographies

Last Solo Exhibition Awards/Grants 2007 Preserves, JamFactory Atrium Gallery, 2011 Finalist, Ranamok Glass Prize, Australia A Adelaide SA 2010 JamFactory Scholarship, Australian Masahiro Asaka Last Group Exhibition Decorative and Fine Art Society Curtin, ACT 2011 Glimpse , Chalk Horse Gallery, Surry Hills (ADFAS), Adelaide SA Page 6 NSW 2010 Viridian Glass Prize, Walker Street Public/Private Collections Gallery, Dandenong VIC Born Various Private Collections 1979 Funabashi City, Chiba Prefecture, Japan 2010 Janet Holmes à Court Artists' Grant, Awards/Grants National Association for Visual Artists Education 2011 Silvano Tagliapietra Scholarship, (NAVA), Sydney NSW 2008 Master of Arts (Visual Arts), School Pilchuck Glass School, Seattle of Art, Australian National University, 2009 Carclew Youth Arts Project Development Washington USA Canberra ACT Grant, Carclew Youth Arts, Adelaide SA 2011 Travel Grant artsACT, Canberra ACT 2005 Post Graduate Diploma of Art (Visual), 2008 Fleurieu Youth Scholarship Prize, School of Art, Australian National 2011 Finalist, Ranamok Glass Prize, Australia Country Arts SA, Adelaide SA University, Canberra ACT 2008 Finalist, Ranamok Glass Prize, Australia Last Group Exhibition 2006 Finalist, Ranamok Glass Prize, Australia 2010 Mind and Matter, JamFactory, Adelaide SA Lee Brogan 2004 Finalist, Ranamok Glass Prize, Australia Kerikeri, New Zealand Public/Private Collections Kaplan/Ostergard Glass Collection, Page 12 Palm Springs Art Museum, Palm Springs Born California USA Kristel Britcher 1963 Takapuna, Auckland, New Zealand State Collection, Art Gallery of South Brompton, SA Australia, Adelaide SA Education Page 10 2007 Bachelor of Applied Arts, Northtec, Awards/Grants Born Kerikeri Northland NZ 2011 Finalist, Ranamok Glass Prize, Australia 1986 Adelaide, South Australia, Australia Last Solo Exhibition Education 2010 Full Fathom Five, Gravel Contemporary B 2010- present Glass Studio Associate, Art, Kerikeri Northland NZ JamFactory, Adelaide SA Last Group Exhibition Annette Blair 2007 Bachelor of Visual Arts (Glass) with 2010 Wallace Art Awards, The James Wallace Arts Trust Auckland, Auckland NZ Queanbeyan, NSW Honours, South Australian School of Art, University of South Australia, Page 8 Public/Private Collections Adelaide SA The James Wallace Arts Trust Auckland, Born Last Solo Exhibition Auckland NZ 1982 Queanbeyan, New South Wales, 2010 Cumulus, Seedling Art Space, Australia Awards/Grants Adelaide SA 2011 Finalist, Ranamok Glass Prize, Australia Education Last Group Exhibition 2008 Winner, Molly Morpeth Canaday Glass 2007 Glass Studio Associate, JamFactory, 2011 Annual Manual: A Guide to Australian Design Prize, Whakatane Bay of Plenty NZ Adelaide SA Now, Object: Australian Centre for Craft 2005 Finalist, Ranamok Glass Prize, Australia 2004 Bachelor of Visual Arts (Glass) with and Design, Sydney NSW Honours, School of Art, Australian Public/Private Collections National University, Canberra ACT Various Private Collections 70 Tillie Burden Last Solo Exhibition Brian Corr 2011 Evolve, Koru Contemporary Art, Copenhagen, Denmark Aberdeen Hong Kong Ainslie, ACT Page 14 Pages 18 Last Group Exhibition Born 2011 Geometry, Sabbia Gallery, Sydney NSW Born 1982 Murwillumbah, New South Wales, 1976 Denver, Colorado, United States Australia Public/Private Collections Glasmuseet Ebeltoft, Ebeltoft Denmark Education Education Ministry of Foreign Affairs, Wellington NZ 2007 Master of Visual Arts (Glass), School 2010 Bachelor of Fine Arts (Glass), Danish of Art, Australian National University, Design School, Nexø Bornholm Private Collection of Sir Elton John Canberra ACT Denmark Various Private Collections Last Solo Exhibition 2009 Exchange Program, Kosta Glass School, Awards/Grants 2010 Of Silence and Light, Canberra Glassworks, Kosta Smaland Sweden 2011 Finalist, Ranamok Glass Prize, Australia Canberra ACT 2004 Bachelor of Fine Arts (Glass), Monash 2008 Finalist, Molly Morpeth Canaday Glass Last Group Exhibition University, Melbourne VIC Awards, Whakatane NZ 2011 Miniatures, Workshop Bilk, Canberra ACT Last Solo Exhibition 2008 3rd Prize, Lincoln Green Sculpture Public/Private Collections 2011 Assembly Point, Gallery Olsen, Award, Waitakere Trust Art Awards, Art Gallery of Western Australia, Perth WA Copenhagen Vesterbro Denmark Waitakere City Auckland NZ Australian National University, Canberra ACT Last Group Exhibition 2007 Creative Excellence Award, Molly National Art Glass Collection, Wagga Wagga 2011 Made By Me, S12 Gallery, Bergen Norway Morpeth Canaday Glass Awards, Art Gallery, Wagga Wagga NSW Whakatane NZ Public/Private Collections Glassmuseet Ebeltoft, Ebeltoft Denmark 2007 2nd Prize, Luminous Art of Glass Awards/Grants Awards, Mazda Artworks, Auckland NZ 2011 Artist in Residence, The Thomas Awards/Grants Foundation and the Canberra 2011 Finalist, Ranamok Glass Prize, Australia 2006 Finalist, Ranamok Glass Prize, Australia Glassworks, Canberra ACT 2010 New Work Grant, Oticon Foundation, 2004 Members Award, New Zealand 2011 Finalist, Ranamok Glass Prize, Australia Copenhagen Zealand Denmark Society of Artists in Glass, Conference Exhibition, Wanganui NZ 2010 New Work Grant, Australia Council for the Arts, Sydney NSW 2004 Finalist, Ranamok Glass Prize, Australia 2010 New Work Grant, artsACT, C 2003 Grant, Creative New Zealand, Canberra ACT Wellington NZ Christine Cathie 2007 Distinguished Talent Visa, Department Herne Bay, New Zealand 2003 Finalist, Ranamok Glass Prize, Australia of Immigration, Canberra ACT Page 16 2002 Student Award, New Zealand Society of Artists in Glass, Conference Exhibition, Born Wanganui NZ 1955 Wellington, New Zealand 2002 Finalist, Norsewear Art Awards, Education Waipukurau NZ 2000 Glass Sculpture Workshop, Artstation, Auckland NZ 2002 Finalist, Ranamok Glass Prize, Australia 1999 Glass Sculpture Workshop, Artstation, Auckland NZ

71 Finalists’ Biographies (continued)

Samantha Cuffe Last Solo Exhibition Public/Private Collections 2011 half-light, Beaver Galleries, Canberra ACT Various Private Collections Carlton, VIC Last Group Exhibition Awards/Grants Page 20 2011 Geometry, Sabbia Gallery, Sydney NSW 2011 Finalist, Ranamok Glass Prize, Australia Born Public/Private Collections 2009 Finalist, Ranamok Glass Prize, Australia 1980 Melbourne, Victoria, Australia Corning Museum of Glass, Corning New York Education US 2010 Bachelor of Fine Arts (Glass) with National Gallery of Australia, Canberra ACT F Honours, Monash University, Melbourne VIC Cincinnati Art Museum Collection, Cincinnati Andrea Fiebig Art Museum, Cincinnati Florida US 2009 Bachelor of Visual Arts (Glass), Monash Millswood, SA University, Melbourne VIC National Art Glass Collection, Wagga Wagga Page 26 Art Gallery, Wagga Wagga NSW Last Group Exhibition Born Winners Collection, Ranamok Glass Prize, 2011 Media Specific, Monash University Faculty 1983 Berlin, Germany Gallery, Melbourne VIC Sydney NSW Education Awards/Grants Awards/Grants 2010- present Glass Studio Associate, 2011 Finalist, Ranamok Glass Prize, Australia 2011 Finalist, Ranamok Glass Prize, Australia JamFactory, Adelaide SA 2010 Glass Plus Gallery Award, Monash 2010 Finalist, Tom Malone Glass Prize, Art 2006 Bachelor of Fine Arts with Honours, University, Melbourne VIC Gallery of Western Australia, Perth WA Monash University, Caulfield VIC 2010 Golden Key Visual and Performing 2007 Young Glass Award, Glassmuseet 2001 Certificate IV in Applied Art and Arts Achievement Award, Golden Ebeltoft, Ebeltolf Denmark Key International Honour Society, Design, Yarra Valley Grammar School, Melbourne VIC 2002 Recipient, Ranamok Glass Prize, Australia Melbourne VIC 2009 DW Rogers Award, Monash University, 2001 Finalist, Ranamok Glass Prize, Australia Public/Private Collections Melbourne VIC Various Private Collections 2000 Finalist, Ranamok Glass Prize, Australia 2009 Kirra Gallery Award, Monash University, Awards/Grants Melbourne VIC 1999 Finalist, Ranamok Glass Prize, Australia 2011 Finalist, Ranamok Glass Prize, Australia 2009 Yarra Art Award, Australian Fine Arts 1998 Finalist, Ranamok Glass Prize, Australia and Decorative Society, Melbourne VIC Brenden Scott French George Drobac Taniani Kensington, SA D Perth, WA Page 28 Page 24 Born Mel Douglas 1969 Toowoomba, Queensland, Australia O'Connor, ACT Born 1964 Blace, Serbia and Montenegro Page 22 Education Education 2003 Bachelor of Visual Arts (Glass) with Born 1989 Graphic Art Design for Newspapers Honours, School of Art, Australian 1978 Burnie, Tasmania, Australia and Publications (Technical Editing), National University, Canberra ACT Yugoslav Institute of Journalism, Education 1999 Glass Studio Associate, Jamfactory, Belgrade, Serbia and Montenegro 2000 Bachelor of Fine Arts with Honours, Adelaide SA School of Art, Australian National 72 University, Canberra ACT 1997 Bachelor of Visual Arts (Glass), Sydney Rish Gordon College of the Arts, The University of Sydney, Sydney NSW G Palmyra, WA Last Solo Exhibition Alasdair Gordon Page 32 2011 Open Negative, Sabbia Gallery, Palmyra, WA Born Sydney NSW Page 30 1935 Carlisle, Cumbria, United Kingdom Last Group Exhibition Born Last Solo Exhibition 2011 Master Glass, BMGART, Adelaide SA 1931 Edinburgh, United Kingdom 2011 Glass Shadows, The Gordon Family, Public/Private Collections Wagga Wagga Art Gallery, Wagga Education Private and Public Collections Wagga NSW 1957 Diploma in Design and Crafts, Awards/Grants Edinburgh College of Art, Edinburgh Public/Private Collections 2011 Independent Makers and Presenters, Midlothian UK Australian National Gallery, Canberra ACT Professional Development Assistance, Last Group Exhibition Commision for HRH Prince Philip Arts SA, Adelaide SA 2011 Glass Shadows, The Gordon Family, National Art Glass Collection, Wagga Wagga 2011 Finalist, Ranamok Glass Prize, Australia Wagga Wagga Art Gallery, Wagga Wagga NSW Art Gallery, Wagga Wagga NSW 2009 Independent Makers and Presenters, Private Collection of Bill Clinton Professional Development Assistance, Public/Private Collections Arts SA, Adelaide SA City of Melville Collection, Melville WA Awards/Grants 2011 Finalist, Ranamok Glass Prize, Australia 2009 Finalist, Ranamok Glass Prize, Australia Murdoch University Art Collection, Murdoch WA 1980 York Society Glass Award, York Society, 2008 Finalist, Ranamok Glass Prize, Australia National Art Glass Collection, Wagga Wagga York WA 2007 The Stephen Procter Fellowship, School Art Gallery, Wagga Wagga NSW of Art, Australian National University, Canberra ACT Various Private and Corporate Commissions H 2007 Artist in Residence, Northlands Creative Awards/Grants Glass, Lybster Caithness UK 2011 Finalist, Ranamok Glass Prize, Australia Sue Hawker 2007 Artist in Residence, Canberra 2010 Finalist, Ranamok Glass Prize, Australia Kerikeri, New Zealand Glassworks, Canberra ACT 2009 York Society Glass Award, York Society, Page 34 2007 Finalist, Ranamok Glass Prize, Australia York WA Born 2003 Finalist, Ranamok Glass Prize, Australia 2007 Nominated, Living Treasures: Master of 1948 Christchurch, Canterbury, New Zealand Australian Craft, Object: Australian Centre 2002 Finalist, Ranamok Glass Prize, Australia Education for Craft and Design, Sydney NSW 2004 Selected papers, Bachelor of Applied 2000 Finalist, Ranamok Glass Prize, Australia 1999 York Society Glass Award, York Society, Visual Arts, NorthTec, Kerikeri York WA Northland NZ 1998 York Society Glass Award, York Society, Last Solo Exhibition York WA 2011 Florescentia, Milford Gallery, Queenstown Otago NZ 1981 Fellow, The Guild of Glass Engravers London, London UK Last Group Exhibition 2011 COLLECT, Saatchi Gallery, London UK

73 Finalists’ Biographies (continued)

Public/Private Collections Awards/Grants 1985 Bachelor of Visual Arts (Sculpture), Various Private Collections 2011 Finalist, Ranamok Glass Prize, Australia School of Art, Australian National University, Canberra ACT Winners Collection, Ranamok Glass Prize, 2010 Runner Up, Bizarre Bra Section, Sydney NSW Montana World of Wearable Art, Last Solo Exhibition Wellington NZ 2011 Entrapped, Canberra Contemporary Art Awards/Grants Space, Canberra ACT 2011 Finalist, Ranamok Glass Prize, Australia 2007 Full Tuition Scholarship, University of British Columbia, Vancouver British 2010 Recipient, Ranamok Glass Prize, Last Group Exhibition Columbia Canada Sydney NSW 2011 Waterhouse Natural History Art Prize, South Australian Museum, Adelaide SA 2009 Finalist, Ranamok Glass Prize, Australia 2006 Curator's Choice Award in Transform/ Translate/Transmit, British Columbia Public/Private Collections Glass Art Association, Vancouver British Canberra Hospital, Canberra ACT Columbia Canada J Department of Agriculture Forestry and 2005 Best in Show, British Columbia Glass Art Fishery, Canberra ACT Jenny Judge Association, Vancouver British Columbia Canada National Museum of Australia, Canberra ACT Titirangi, New Zealand National Museum of Belau, Koror Palau Palau Page 36 1998 Award of Merit, Nakano International Art Exhibition for the Olympics, Nagano Aboriginal and Torres Strait Islander Health Born Japan ACT, Indigenous Health Unit, Canberra ACT 1961 Toronto, Ontario, Canada Various Private Collections Education 2004 Kiln Cast Glass Course, Artstation, K Awards/Grants Auckland NZ 2011 Thomas Foundation Artist in Residence, Jennifer Kemarre Martiniello Canberra Glassworks, Canberra ACT 1995 Bachelor of Art Education, University of British Columbia, Vancouver British Rivett, ACT 2011 ACT Women's Honour Roll, ACT Office Columbia Canada Page 38 of Women, Canberra ACT 1992 Master of Fine Art (Sculpture), Born 2011 Finalist, Ranamok Glass Prize, Australia University of Minnesota, Minneapolis 1949 Adelaide, South Australia, Australia Minnesota US 2010 ACT International Women's Day Award, Education ACT Office of Women, Canberra ACT 1983 Bachelor of Fine Art (Sculpture and 2008-present Glass Blowing, Kiln 2009 Artist of the Year, ACT NAIDOC Printmaking), Queen's University, Forming, Cold Work, Flamework and Committee, Canberra ACT Kingston Ontario Canada Casting Workshops, Canberra Glassworks, Canberra ACT Last Solo Exhibition 2003 ACT Creative Arts Fellowship, ACT Government, Canberra ACT 2009 Migrations , Corban Estate for the Arts, 2005 Certificate IV Printmaking (Garma Henderson Auckland NZ Significant Indigenous Artists), Charles Darwin University, Darwin NT Last Group Exhibition Laurel Kohut 2010 Vancouver 2010: Unity and Diversity, 2003 Certificate IV Indigenous Arts and Vancouver Museum, Vancouver British Fashion Design, Canberra Institute of Bentleigh, VIC Columbia Canada Technology, Canberra ACT Page 40 Public/Private Collections 1994 Honours Degree (Philosophy), Born Canada Council Artbank, The Canada Council Australian National University, 1981 Melbourne, Victoria, Australia for the Arts, Ottawa Ontario Canada Canberra ACT Various Private Collections 74 Education Last Group Exhibition 2003 Glass Studio Associate, JamFactory, 2011 Trans Cendencia, Museo do vidro, Adelaide SA Marinha Grande Portugal M 1999 Bachelor of Applied Arts (Glass) Public/Private Collections Nikki Main with Honours, Monash University, Various Public and Private Collections Weston, ACT Melbourne VIC Awards/Grants Page 46 Last Solo Exhibition 2011 Finalist, Ranamok Glass Prize, Australia 2007 Home Remedies, JamFactory Collectors Born Space, Adelaide SA 2010 Finalist, Art in the Workplace, 1959 London, United Kingdom International Architecture Symposium, Last Group Exhibition Barcelona Spain Education 2011 Memories and Mementos, Kirra Galleries, 2011 Masterclass with Nick Mount (Glass Melbourne VIC 2002 New Work Grant (Established Blowing), Canberra Glassworks, Artist), Australia Council for the Arts, Canberra NSW Awards/Grants Sydney NSW 2008 Bachelor of Fine Arts (Glass) with 2011 Finalist, Ranamok Glass Prize, Australia 1994 Fellowship, Australia Council for the Honours, School of Art, Australian 2010 Finalist, Ranamok Glass Prize, Australia Arts, Sydney NSW National University, Canberra ACT 2006 Project Assistance Grant, South 2006 Workshop with Jiri Harcuba and Martin Australian Youth Arts Board, Kim Logue Rosiol (Cold Working and Engraving), Adelaide SA Corning Glass Museum, Corning New Kerikeri, New Zealand York US 2005 Dame Nancy Buttfield Award, Ayers House, Adelaide SA Page 44 2005 Workshop with Giles Bettison (Murrini), JamFactory, Adelaide SA 2004 Project Assistance Grant, South Born Australian Youth Arts Board, 1963 Auckland, New Zealand Last Group Exhibition Adelaide SA 2011 Drink , Canberra Glassworks, Education Canberra ACT 2004 Finalist, Ranamok Glass Prize, Australia 2010- present Bachelor of Applied Arts, Northtek, Kerikeri Northland NZ Public/Private Collections 2002 Finalist, Ranamok Glass Prize, Australia Various Private Collections Last Group Exhibition 2011 Glass , Royal New Zealand Easter Show, Waterhouse Art Prize Winner Collection, Auckland NZ South Australia Museum, Adelaide SA L Public/Private Collections Awards/Grants Various Private Collections 2011 Finalist, Ranamok Glass Prize, Australia Warren Langley Awards/Grants 2010 Overall Winner, Waterhouse Art Prize, Queenscliff, NSW 2011 Finalist, Ranamok Glass Prize, Australia South Australia Museum, Adelaide SA Page 42 2009 Highly Commended, Waterhouse Born Art Prize, South Australia Museum, 1950 Sydney, New South Wales, Australia Adelaide SA 2008 Emerging Artist Support Scheme Education Residency Award, Canberra Glassworks, 1972 Bachelor of Science with Honours, Canberra ACT University of Sydney, Sydney NSW 2008 Second Prize, Weereewa Works on Last Solo Exhibition Paper, Bungendore Woodworks Gallery, 2009 New Work, Australian Galleries, Bungendore NSW Sydney NSW 75 Finalists’ Biographies (continued)

2008 Finalist, ANU Drawing Prize, Australian Private Collection of Her Majesty Queen 2004 Master of Studio Art (Glass), Sydney National University, Canberra ACT Rania Al-Abdullah of Jordan Amman Jordan College of the Arts, University of Sydney, Sydney NSW 2007 Emerging Artist Support Scheme Various Private Collections Honours Scholarship, Australian 1983 Bachelor of Education (Art), College National University, Canberra ACT Awards/Grants of Fine Arts, University of New South 2011 Finalist, Ranamok Glass Prize, Australia 2007 Finalist, ANU Drawing Prize, Australian Wales, Sydney NSW National University, Canberra ACT 2010 Finalist, Libris Awards, Artspace Mackay, 1971 Diploma of Visual Arts Education, Mackay QLD Alexander Mackie Teachers College, Sydney NSW Kristin McFarlane 2010 Finalist, Ranamok Glass Prize, Australia Last Solo Exhibition West Essendon, VIC 2008 New Work Grant (Emerging Artist), Australia Council for the Arts, 2006 Avalon, Touch, Icarus and the Moon, Page 48 Sydney NSW Glass Artists' Gallery, Sydney NSW Born 2007 Selected Entry, Jutta Cuny-Franz Last Group Exhibition 1968 Melbourne, Victoria, Australia Memorial Award, Jutta Cuny-Franz 2011 Doug Moran Portrait Prize, Mitchell Library Foundation, Dusselforf Germany Gallery, Sydney NSW Education 2004 Master of Fine Arts (Glass), Monash 2006 Finalist, Bullseye E-merge, Bullseye Glass Awards/Grants University, Melbourne VIC Company, Portland US 2011 Finalist, Ranamok Glass Prize, Australia 2001 Graduate Diploma (Glass), Monash 2004 Craft-in-Site Grant, Craft Victoria, 2010 Finalist, Ranamok Glass Prize, Australia University, Melbourne VIC Melbourne VIC 2007 Australian Post Graduate Award, 1993 Bachelor of Arts (Graphic Design), 2004 Finalist, Ranamok Glass Prize, Australia Commonwealth Government, Monash University, Melbourne VIC Sydney NSW 2003 First Prize, Student Exhibition, Ausglass, Last Solo Exhibition Fremantle WA 2007 Finalist, Ranamok Glass Prize, Australia 2006 The Lost Art of Letter Writing, Counihan Gallery, Melbourne VIC 2003 Postgraduate Travel Grant, Monash 2006 Finalist, Ranamok Glass Prize, Australia University, Melbourne VIC Last Group Exhibition 2011 Memories and Mementos, Kirra Gallery, Melbourne VIC P S Public/Private Collections Anne Sorensen Bombay Sapphire Foundation, UK Wayne Pearson Bouvard, WA The Royal Melbourne Hospital, Lane Cove, NSW Page 52 Melbourne VIC Page 50 Born Australian of the Year Recipient Award Born 1955 Hobart, Tasmania, Australia Commision (2005-2011), Australia 1949 Coonamble, New South Wales, Australia Education City of Moreland Collection, Counihan Education 2011 Narcissus Quagliata Master Class, Gallery, Brunswick VIC 2008-present Doctorate of Philosophy, Art Glass Studio, Perth WA Monash University Art Collection, Berwick Sydney College of the Arts, University of Sydney, Sydney NSW 2011 Patti Gray Fused Glass Workshop, Campus, Monash University, Berwick VIC Perth Art Glass, Perth WA 2007 Master of Visual Arts (Glass), Sydney National Art Glass Collection, Wagga Wagga 2009 Judi Elliott Fused Glass Workshop, Art Gallery, Wagga Wagga NSW College of the Arts, University of Sydney, Sydney NSW Art Glass Studio, Perth WA

76 2008 Steven Klein Fused Glass Workshop, Last Group Exhibition Awards/Grants Art Glass Studio, Perth WA 2010 RE:FRACTION, The Sculpture Park, 2011 Finalist, Ranamok Glass Prize, Australia Waitakaruru Arboretum, Hamilton 2008 Denise Pepper Pâte de Verre Workshop, Waikato NZ 2010 Finalist, Ranamok Glass Prize, Australia Art Glass Studio, Perth WA Awards/Grants 2009 Art Alliance of Contemporary Glass 2007 Kent Lauer Bevelling Workshop, 2011 Finalist, Ranamok Glass Prize, Australia Award, 37th International Invitational, Perth Art Glass, Perth WA Habatat Galleries, Royal Oak Michigan 2010 Swarbrick Dixon Award for Excellence US 2007 Ian Dixon Advanced Fusing Workshop, in Glass Sculpture, The Sculpture Park, Perth Art Glass, Perth WA Waitakaruru Arboretum, Hamilton 2009 Finalist, Ranamok Glass Prize, Australia 2007 Anne Clifton Paperweights Workshop, Waikato NZ 2008 Finalist, Ranamok Glass Prize, Australia Glass Manifesto, Perth WA 2007 New Work Grant (Established 2006 Marc Leib Fused Glass Workshop, Artist), Australia Council for the Arts, Art Glass Studio, Perth WA V Adelaide SA 2006 Ian Dixon Fused Glass Workshop, Perth Emma Varga 2006 Finalist, Ranamok Glass Prize, Australia Art Glass, Perth WA Collaroy, NSW 2005 Finalist, Ranamok Glass Prize, Australia Last Group Exhibition Page 56 2011 In 3D, Old Bakery on 8th Gallery, 2002 Finalist, Ranamok Glass Prize, Australia Perth WA Born 1990 Annual Award for Entire Opus, 1952 Ada, Yugoslavia Association of Applied Arts, Belgrade Public/Private Collections Yugoslavia City of Armadale Collection, Armadale WA Education 1975 Bachelor of Arts (Glass and Ceramics) Various Private Collections with Honours, University of Applied Awards/Grants Arts, Belgrade Yugoslavia W 2011 Finalist, Ranamok Glass Prize, Australia Last Solo Exhibition 2010 Long Reef, Manly Art Gallery and Richard Whiteley Museum, Manly NSW Queanbeyan, NSW T Last Group Exhibition Page 58 Di Tocker 2010 Geometry, Sabbia Gallery, Sydney NSW Born 1963 East Dean, United Kingdom Ohaupo, New Zealand Public/Private Collections Glassmuseet Ebeltoft, Ebeltoft Denmark Page 54 Education Contemporary Glass Museum of Applied Art, 1992 Master of Fine Arts, University of Born Belgrade Serbia Illinois, Urbana Illinois US 1971 Auckland, New Zealand Contemporary Glass, Powerhouse Museum, 1987 Bachelor of Visual Arts with Distinction, Education Sydney NSW School of Art, Australian National 2002 Bachelor of Fine Arts (Glass), Royal University, Canberra ACT Melbourne Institute of Technology, Kaplan/Ostergaard Glass Collection, 1986 Cast Glass with Stanislav Libensky Melbourne VIC Palm Springs Art Museum, Palm Springs California US and Jaroslava, Pilchuck Glass School, Last Solo Exhibition Stanwood Washington US 2008 Abstract Figurative Glass, ArtsPost, National Art Glass Collection, Wagga Wagga Art Gallery, Wagga Wagga NSW 1982 Apprenticeship in Commercial and Hamilton Waikato NZ Stained Glass, Spectrum Studios VIC

77 Finalists’ Biographies (continued)

Last Solo Exhibition Keryn Whitney Nick Wirdnam 2011 Encapsulated Space, Bullseye Gallery, Portland Oregon US Hastings, New Zealand Brighton, VIC Page 60 Page 64 Public/Private Collections Artbank, Sydney NSW Born Born 1972 Taihape, Manawatu–Wanganui, 1956 Portsmouth, United Kingdom Australian National University, New Zealand Canberra ACT Education Education 2009 Canberra Glassworks Residency, Corning Museum of Glass, Corning 2000 Certificate in Glass Techniques and Canberra Glassworks, Canberra ACT New York US Glass Technology, International Glass 2003 William Morris, Karen Willenbrink- Embassy of Australia, Washington District Centre Dudley, Birmingham West Midlands UK Johnsen and Randy Walk Hot of Columbia US Sculpting Workshop, Pilchuck Seattle Hotel Murano, Tacoma Washington US Last Solo Exhibition Washington US 2008 Kaleidoscope, Wine Country Gallery, 1998 Pilchuck Scholarship, Dino Rosin Hot National Gallery of Australia, Canberra ACT Havelock North Hawkes Bay NZ Sculpting Glass Workshop, Pilchuck Palm Springs Art Museum, Palm Springs Public/Private Collections Glass School, Seattle Washington US California US Various Private Collections 1990 Bachelor of Arts (Ceramics), Monash Queensland Contemporary Art Gallery, Awards/Grants University, Melbourne VIC Brisbane QLD 2011 Finalist, Ranamok Glass Prize, Australia Last Solo Exhibition The Art Trust, Melbourne VIC 2010 Superstition, Beaver Galleries, Canberra ACT Victorian State Craft Collection, Clare Wilson Melbourne VIC Last Group Exhibition Kensington Park, SA 2011 Drink , Canberra Glassworks, Contemporary Glass, Powerhouse Museum, Canberra ACT Sydney NSW Page 62 Winners Collection, Ranamok Glass Prize, Born Public/Private Collections Sydney NSW 1985 Portsmouth, Hampshire, United Niijima Glass Art Museum, Niijima Japan Kingdom National Gallery of Australia, Canberra ACT Awards/Grants Education 2011 Finalist, Ranamok Glass Prize, Australia National Art Glass Collection, Wagga Wagga 2009 Glass Studio Associate, JamFactory, Art Gallery, Wagga Wagga NSW 2006 Finalist, Ranamok Glass Prize, Australia Adelaide SA Awards/Grants 2004 Finalist, Ranamok Glass Prize, Australia 2007 Bachelor of Arts (Glass and 2011 Finalist, Tom Malone Glass Prize, Art Architectural Glass) with Honours, Gallery of Western Australia, Perth WA 2003 Finalist, Ranamok Glass Prize, Australia Edinburgh College of Art, Edinburgh 2000 Recipient, Ranamok Glass Prize, Midlothian UK 2011 Finalist, Waterhouse Art Prize, South Australia Australia Museum, Adelaide SA Last Solo Exhibition 1999 Finalist, Ranamok Glass Prize, Australia 2011 Form without Function, JamFactory, 2011 Finalist, Ranamok Glass Prize, Australia Adelaide SA 1995 Finalist, Ranamok Glass Prize, Australia 2004 Finalist, Ranamok Glass Prize, Australia Awards/Grants 2002 Artist in Residence, Northlands Creative 2011 Finalist, Ranamok Glass Prize, Australia Glass, Caithness UK 2002 Finalist, Ranamok Glass Prize, Australia 2000 Finalist, Ranamok Glass Prize, Australia 78 Take T Yusuke Y Ashfield, NSW Kayo Yokoyama Page 68 Blackheath, NSW Born Page 66 1983 Osaka, Japan Born Education 1969 Nagoya, Aichi, Japan 2009 Master of Studio Art (Glass), Sydney College of the Arts, The University of Education Sydney, Sydney NSW 2011- present Master of Fine Arts (Glass), Sydney College of Arts, The University Last Solo Exhibition of Sydney, Sydney NSW 2010 What you see, What you believe, ESP Gallery, Sydney NSW 2001 Bachelor of Visual Arts (Glass) with Honours, Sydney College of Arts, Last Group Exhibition The University of Sydney, Sydney NSW 2011 Ausglass Members Exhibition, Ausglass Conference – Peripheral Vision, Last Solo Exhibition Sydney NSW 2011 Homeland , Fox's Gallery, Bathurst NSW Public/Private Collections Last Group Exhibition Private Collection of OHK TV Station, 2011 Moreton Bay Regional Art Prize, Pine River Kurashiki Okayama Japan Gallery, Strathpine QLD Awards/Grants Public/Private Collections 2011 Vicki Torr Online Gallery Prize, Hyatt Regency Hotel, Manilla Philippines Ausglass Conference – Peripheral Vision, Sydney NSW Marrion Hotel, Beijing China 2011 Sabbia Gallery Exhibition Award, Awards/Grants Ausglass Conference – Peripheral 2011 Finalist, Ranamok Glass Prize, Australia Vision, Sydney NSW 2010 Finalist, Outback Open Prize Broken Hill 2011 Finalist, Ranamok Glass Prize, Australia Regional Gallery, Broken Hill NSW 2010 Finalist, Ranamok Glass Prize, Australia 2000 Finalist, Ranamok Glass Prize, Australia

79 Glossary of Glass Terms

Acid Etched Bullseye Glass Cire Perdue The use of acidic, caustic, or abrasive The brand name of a glass manufactured Refers to the ancient technique traditionally substances to create matt surfaces on glass. in the USA for the specific purpose of used for the casting of bronze and precious kiln working. The majority of Bullseye glass metals but now widely used for casting glass Annealing is compatible, meaning that it has the same objects. The basic process involves producing The controlled cooling of glass in order or a similar rate of expansion. a form in wax which, after being covered to remove any strains that may have with a suitable investment to make a mould, otherwise been “frozen” into the object Cameo Glass is heated sufficiently in a burn-out kiln or by rapid cooling. A method of carving through fused layers double boiler so the wax melts and runs out. of glass which nearly always features a raised, Glass is then melted into the space left by the Blown Glass positive image against a background of wax to produce a replica of the original form. The process of forming an object by inflating a contrasting colour. a glob of molten glass gathered on the end Cold Worked of a blowpipe. The glassblower or gaffer Cane An all-embracing term for the various blows through the blowpipe, inflating the Rods of glass usually formed by drawing techniques such as engraving, grinding, glob, which is then manipulated into the out long lengths of glass from large gathers carving, cutting etc carried out when the required form by swinging, rolling on a on a punty iron. Bundles of canes are often glass is cold. marver, or shaping with tools. fused together and drawn out again to a suitable diameter before being cut into Copper Wheel Engraving Blowpipe small decorative pieces such as millefiori A form of engraving where glass is shaped A hollow, tapered metal tube, usually for picking up into paperweights. They are by a small copper wheel on a lathe. This 1.3m long. The glassblower gathers molten also cut into lengths and placed against the engraving lathe uses spindles of various glass on the thicker end of the pipe and side of an open mould for picking up onto sizes to fit a variety of copper discs. blows through the narrow end to inflate a gather which is marvered and pulled out and shape the glass. The blowpipe comes to make rods used for opaque twists and Decals in different sizes depending on the height filigree work. A plastic, cloth or paper material that has of the worker, their strength, and the size a pattern or image printed on it that can of the piece to be blown. Carved be moved to another surface upon contact, A term commonly used to describe glass usually with the aid of heat or water. Borosilicate Glass which has been cut or abraded into shape A glass made from both silica and boric from a solid block. It is also one that can Dichroic oxide usually manufactured for laboratory be used to refer to blown or cast glass Refers to a colour that has been ware, domestic cooking ware and for which has been further shaped by cutting, manufactured and coated with various many kinds of technical purposes where abrading, nibbling and/or grinding. chemicals to give specific properties in a relatively high resistance to both heat relation to the transmission or reflection and thermal shock is required. It is Casting of light, i.e. when two or more colours react also used for low expansion-type glass A process of shaping molten glass by according to variants of polarised light required to bond to metals and for glass pouring or melting it into a mould. passing through. with high degrees of chemical resistance. Ideal for lampworking.

80 Intaglio Engraving Glory Hole Lead Glass This refers to any form of engraving which The furnace used to reheat glass on Glass that contains a high percentage of is cut or incised; it is now also generally the blowpipe or punty. lead oxide. It is relatively soft and has a accepted as referring to all designs that are high refractive index. Ideal for wheel cutting. engraved into the glass as negative form, Graal giving an impression of actually standing out A technique, reputedly developed at Lost Wax as positive relief. It is usually carried out by the Orrefors factory, in order to create A technique adapted from metalworking. using a small lathe equipped with copper more precise decoration than previously The object to be made in glass is modeled wheels which are fed with a mixture of oil possible at the glassmaker’s chair. A in wax and encased in a plaster mix. The wax and abrasives. gather of clear glass is cased with a layer is melted out of the plaster thus forming of coloured glass, or vice versa. It is then the mould into which molten or powdered Flameworking blown into a bubble and either left in this glass is added. After annealing, the mould A process of forming glass objects from form or opened up into a bowl before being is removed from the glass object which is glass tubing and rod by heating in a flame annealed. The layer of colour is cut and then cold finished by grinding, sandblasting, from a torch. Flameworking is also called abraded by sandblasting or etched with acid or fire or acid polishing depending on the lampworking. to produce the required decoration. The surface required. bubble or bowl is then heated and picked Furnace up on either a punty or blowpipe to be Marvering The primary heating unit from where the worked to the final form. The name 'Graal' Rotating hot glass on a polished iron or glassblower gathers molten glass. refers to the legendary bowl in which the marble slab to cool, control and centre blood of Christ was collected as he hung on the blowpipe. Fusing on the cross. Heating pieces of glass in a furnace or Melt kiln until they bond. Hot Glass Molten glass obtained by melting a batch A generic term for glass working from of raw materials at one time. Gaffer the furnace. (English: corruption of ‘grandfather’) Merletto The master craftsperson in charge of a Hot worked or sculpted Particular form of cane work. chair or team of hot glass workers. A technique in which molten glass is gathered directly from the furnace Mould Blown Gaffer Glass on a punty and manipulated using The process of forming an object by inflating A New Zealand company that manufactures specialised tools. a glob of molten glass into a wooden or coloured crystal and blowing glass that is metal carved mould. In this way, the shape compatible with the majority of glasses Inclusion and the texture of the bubble of glass is used through out Australasia. An element of glass or a foreign body determined by the design on the interior enclosed in glass. of the mould rather than the glassworker. Glass Blowing The shaping of molten glass by air pressure Kiln Forming Murrini and manipulation. The process of fusing or shaping (usually A cross cut piece of glass (with a design in or over a mould) by heating in a kiln. or colour pattern) used in the creation of Glass Enamels a larger glass work. Paint made of finely ground glass particles Laminated with a relatively low melting point which, The joining together of layers of glass Overlay once applied, are fired onto the glass either by fusing or the use of adhesives. A layer of glass gathered over a layer of using a kiln. a different coloured glass.

81 Glossary of Glass Terms (continued)

Pâte de Verre Slumping (French: glass paste) A process that involves A process, generally done in a kiln, which making a paste of powdered glass that is uses heat and gravity to change the shape applied to a mould. When fired the particles of a three dimensional form. melt and bond with each other creating a frosted or opaque glass that is rich in Spectrum Glass colour and texture. An American manufacturer of products for architecture, kilnforming, and other Pâte de Crystal glassworking arts. A technique that differs to pâte de verre in particle size and composition of glass Spin Cast in the paste. A variation on an industrial centrifugal casting technique. The metal moulds Polishing normally used are replaced with an A cold working process where the glass arrangement which permits the use of object is smoothed either by holding it mouldable sand, thus allowing one-off against a rotating wheel fed with a fine items to be produced. Hot glass is ladled abrasive, immersing it in acid or using into the sand mould, which is then spun. a hot flame. Centrifugal force pushes the glass up the sides of the mould to form a hollow casting. Punty A metal rod for gathering and manipulating Stained Glass the hot glass. It is usually used to remove Usually refers to coloured or painted glass the partly formed glass object from the used as a decorative element in windows. blowpipe and for bringing ‘bits’ of hot glass These elements are generally joined to the glass blower to be applied as handles, with lengths of lead channeling. prunts or other decoration to a piece. Waterjet Cut Sandblasting The process of using a highly pressurized A technique that produces a matt surface jet of water or a mixture of water and to achieve texture and decoration or to an abrasive substance to cut glass. re-define a shape by sandcarving. An air compressor is used to propel sand or grit Wheel Cut onto the object or surface. Pioneered The use of various types of abrasive wheels by Val St Lambert in 1907. to produce a wide range of decorating facets and cuts. Sandcasting A method of producing glass forms by pressing a form into damp sand to create an impression. When the form is removed this becomes the negative space in which to pour the molten glass. The glass is then removed from the sand and annealed in a kiln in the usual manner.

82 The Judges

Louise Doyle Tina Oldknow Andy Plummer Louise Doyle is the Director of the National Tina Oldknow has been the Curator of Modern Andy Plummer co-founded the Ranamok Portrait Gallery, Canberra, and prior to this was Glass at The Corning Museum of Glass since Glass Prize with Maureen Cahill. He and his the Gallery’s Deputy Director, Programs and 2000, and she is responsible for all curatorial wife, Deirdre, collect contemporary glass Collection. Louise has over 20 years experience aspects of the glass collections dating from from Australia and New Zealand. in the museum sector, as Director of regional 1900 to the present. During her time at the galleries in NSW and Queensland, the inaugural Museum, she has reinstalled the Modern Glass Curator of Programs and Collections at Old and Contemporary Glass Galleries, and she has Parliament House, Canberra, and as Head curated 16 exhibitions. Curator at the Museum of Sydney, Historic Houses Trust of NSW. As Director of Wagga Oldknow has held curatorial and advisory Wagga Art Gallery (1999 – 2001) Louise curated positions at several museums, including the the National Art Glass Collection and managed J. Paul Getty Museum, Malibu, the Southwest the National Art Glass Partnership program with Museum, Los Angeles, the Los Angeles County the Thomas Foundation and the National Gallery Museum of Art, the Santa Barbara Museum of of Australia. Louise has also been a member Art, the Henry Art Gallery of the University of of various museum and visual arts committees Washington, Seattle, the Seattle Art Museum, and advisory bodies including Director of the and the Tacoma Art Museum. Board of Crafts Queensland, and the Regional Galleries Association of NSW. She is currently She is the author of Pilchuck: A Glass School (1996), a member of the Canberra Museum and Gallery Chihuly Persians (1996), Richard Marquis Objects advisory committee. (1997), Dante Marioni: Blown Glass (2000), William Morris: Animal, Artifact (with James Yood, 2000), 25 Years of New Glass Review (2005), Dan Dailey Geoffrey Edwards (with William Warmus and Milton Glaser, 2007), Geoffrey Edwards is Director of the Geelong Contemporary Glass Sculptures and Panels: Selections Art Gallery, one of Australia’s oldest and largest from The Corning Museum of Glass (2008), Voices of regional galleries. Prior to this appointment, he Contemporary Glass: The Heineman Collection (2009), held Senior Curatorial positions at the National and numerous articles and essays. From 1996 to Gallery of Victoria where he was in charge of 2001, she was the editor of the Glass Art Society the collections of international and Australian Journal and she currently edits the Museum’s sculpture and Melbourne’s celebrated holdings annual New Glass Review with Richard Price. of ancient, antique and modern glass. Oldknow holds a B.A. in Art History from the His professional affiliations, here and abroad, University of California, Los Angeles and an are extensive and include, amongst others, M.A. in Art History from the University of the Visual Arts Board of the Australia Council, Pennsylvania, Philadelphia. Visions Australia, Craft Australia, Museums Australia (Victoria), the Winston Churchill Trust (he is a former Churchill Fellow), the George Baldessin Trust and advisory committees of the National Trust of Australia (Victoria). He has chaired various grants panels for Arts Victoria.

He is the author of various monographs, numerous exhibition catalogues and contributes to journals in Australia, Japan, Britain and the US. 83 2010 Recipient

Sue Hawker Kerikeri, Northland, New Zealand

Too Much Is Never Enough Too much gloom, too much doom. Pâte de verre Too much misery, too much! 50 H x 25 W x 25 D cm Enough!

Drink of me,

I am joy and vitality.

Now, too much is never enough.

Photographer: Christian Mushenko 84 Ranamok 2011 Tour Dates

17 August – 22 September 2011 7 – 11 November 2011 Canberra Glassworks Foyer, Riverside Centre 11 Wentworth Avenue 123 Eagle Street Kingston ACT 2604 Brisbane QLD 4000 02 6260 7005 www.canberraglassworks.com

4 – 29 October 2011 Foyer, Angel Place Office Tower 123 Pitt Street Sydney NSW 2000 0400 019 734 www.artandabout.com.au Associate Event of ‘Art & About Sydney 2011’, presented by the City of Sydney.

Acknowledgements

Ranamok Glass Prize Limited wishes to thank all our sponsors, judges, artists and the following:

Board Members Underwriters Administration Maureen Cahill – Co-founder Whitehaven Coal Limited Elizabeth MacDougall Damien Clarke XLX Pty Ltd Peta Mount Jacqueline Clayton Andy Plummer – Co-founder and Ranamok 2011 Catalogue Essay Chairman Tina Oldknow Deirdre Plummer Ranamok 2011 Catalogue Fundraising Design and production Andy Plummer Dupree Design Group

Design | Dupree Design Group www.dupree.com.au Print | Lindsay Yates Group Detail from Ranamok Glass Prize Winner 2010 Too Much Is Never Enough by Sue Hawker Photography by Christian Mushenko

ISBN 978-0-9806576-2-3 www.ranamok.com