Annette Blair, Nurtured

I am fascinated by the textures, colours, smells and sounds held within objects and their ability to arouse memories or capture a sense of a place, a time or person.
— Annette Blair

Annette Blair employs blown, hot-sculpted and hand-painted glass to illustrate personal narratives and explore ideas of character and identity. Nurtured expands on these interests – preserving memories from the domestic setting to evoke a common or shared nostalgia. 
Annette chooses familiar, utilitarian glass forms as a starting point to express these associations. Using found or sourced glassware releases the mass-produced objects from their primary function whilst reinforcing their simple purpose. She is fascinated by the ability of objects, textures, colours, smells and sounds to arouse memories or capture a sense of a place, a time or person. 

In 2011 Annette attended Pilchuck Glass School, where she began to focus on expanding her skill-set into hot-sculpted glass. This enabled her to reinterpret familiar household objects, creating and preserving domestic tableaux as precious reminders of the hands that held them. In 2015, as Artist-in-Residence at the Canberra Glassworks, Annette began to explore the use of high-fire enamels, painting between layers of hot glass. Various applications of glass enamels throughout the glassblowing process allow Annette to build depth through line, pattern and imagery in order to translate various domestic textures into what is an innately rigid material.

Annette studied glass at the ANU School of Art & Design receiving a Bachelor of Visual Arts with Honours in 2004. In 2005, she began a two-year traineeship in the hot glass studio at the Jam Factory Craft and Design Centre in Adelaide. After completion, she became a Jam Factory studio tenant. In 2008 Annette returned to Canberra to make work at the Canberra Glassworks, and currently has a studio in Burra, NSW. She divides her practice between the design and manufacture of several production lines, as well as spending time working on exhibition pieces for various national and international exhibitions. These works investigate combinations of portraiture and glass and focus on ideas of identity and personal narrative, as seen here in Nurtured and other recent works.

Annette is represented by Beaver Galleries.

Lisa Cahill, Nocturnal

My dreamlike images allow viewers to draw associations with their own remembered landscapes, resulting in a meditative and emotional response.
— Lisa Cahill

For over 15 years Lisa Cahill has explored land and seascapes though carved, kiln formed and painted glass. With this new work she seeks to explore the reality behind the visible and to find the quiet within. Inspired by both the natural world and the transitory nature of the urban experience, Lisa’s dreamlike images allow viewers to draw associations with their own remembered landscapes, resulting in a meditative and emotional response. 

Having spent many years living and travelling the world, much of this time spent in Denmark, my mother’s homeland, my kiln formed glassworks connect structures of urban architecture, the associations and memories they invoke, and my innate respect for the natural landscape.

Lisa works across a variety of scales and techniques. Developing a distinctive style since completing a BA in Ceramic Design at Monash University in 2000, her work ranges from kiln-formed and wheel-carved wall panels and sculptures to large-scale public artworks and series of jewellery and plates.

For Lisa, Nocturnal is an investigation of her sense of place and her infinitesimal position within this universe. The piece is part of a new body of work in which she aims to explore the quiet and stillness of the night and with it create a space for quiet contemplation. 

Lisa has exhibited extensively both nationally and internationally and has been awarded numerous grants and prizes, including several Australia Council for the Arts new work grants and the 2001 Bullseye By Design Award. She established studios in Sydney and Melbourne before relocating to Canberra in 2011, where she now practices full-time from her studio in Pialligo.

Represented by Sabbia Gallery in Sydney, Kirra Galleries in Melbourne and several Galleries in the USA, Lisa’s work can be found in The National Art Glass Collection, Wagga Wagga Regional Art Gallery, NSW, Palm Springs Art Museum, California, USA and The Ebeltoft Glass Museum, Denmark.
 

Alexandra Chambers, Bobby Pins

Glass is always a challenging and technical material; I like to make multiples as an exercise in practice and technique.
— Alexandra Chambers

Originally from the United States, Alexandra Chambers has been working in glass for 21 years. She graduated with an undergraduate degree from the ANU School of Art & Design glass workshop in 2001.

Residing in Captains Flat with her partner, glassblower Tom Rowney, and their two children, Alexandra works out of her home studio and at the Canberra Glassworks. She regularly works with blown glass and assists artists in the hotshop, and is also a skilled flameworker.

Alexandra’s work consists of sculptural and humorous concepts, focusing on the idea of capturing moments in time with the rapid advancement of technology in our generation. 

This particular work is about the lone bobby-pin and its adept way of finding itself almost everywhere humans roam. Shopping centres, the gym, change rooms, parking lots. Bobby-pins can be quite a dismissed, discarded, disposable item.

Here Alexandra has made 100 of them to preserve the lost and found bobby-pins of the world. 

I enjoy making glass on my torch, a meditative process I can enjoy on my own. Glass is always a challenging and technical material, I like to make multiples as an exercise in practice and technique. 

Alexandra teaches glass blowing both nationally and internationally. She has worked as a teaching assistant at Pilchuck Glass School, and Northlands Creative Glass; co-taught with Tom Rowney over the last 15 years at Vetroricerca Glas and Modern, Eugene Glass School, and the Jam Factory. She has also taught at the ANU School of Art & Design, the Canberra Glassworks, and is currently teaching glassblowing at Sydney College of the Arts.
 

Scott Chaseling, Adrift

This work is an attempt to represent a sense of no place and no belonging.
— Scott Chaseling

Scott Chaseling is an artist who has been using glass as his primary medium for over 30 years. Scott studied sculpture at the South Australian College of the Arts and then studied as an associate at the Jam Factory Craft and Design, Adelaide. He then travelled widely, developing new works in new locations through teaching, residencies and workshops. Scott lived and worked in Japan, England, France and Germany, along with many short stints internationally giving workshops, lectures and attending artist in residencies, such as the Leverhulme Research Fellowship UK, Wheaton Fellowship, USA and the Cite des International des Arts, France.

Scott aims to use glass as a material for the construction of contemporary sculpture. Adrift’s formal outline reveals a maritime buoy, similar to the buoys that one may find whilst beachcombing – a way marker unmoored and displaced. This sculpture, now as flotsam and jetsam, represents a liminal space between a sense of place and one of being lost. The landlocked marker functions no more within its original premise but rather now it serves a carrier for new narratives. It has no cultural certainty. 

Through utilising specific materials such as glass and mirrors, Adrift creates a liminal space that consists only of a state of becomingness and not defined by the tangiblity of the object. This temporal shift of perception, along with a change in material expectations, will allow the viewer to participate with the sculpture via the introduction of their own reading/s.

Scott is currently a PhD candidate at the ANU School of Art & Design in the sculpture workshop. He has been awarded numerous prizes and awards such as the Gold Medal of the Bavarian State Prize, Germany, the Queen Elizabeth Silver Jubilee Award. His artwork is represented in many national and international public collections, including Museum Kunst Palast, Germany, the National Gallery of Australia and the 21st Century Museum of Contemporary Art, Japan.

Recent solo exhibitions have been in the European Museum of Contemporary Glass, Germany, the Musee du Verre, France and Canberra Museum and Gallery.

Erin Conron, Glance #2

I am interested in the simple daily actions of life, and the way these build up through repetition to create the structure of our identity and complexities of our personal stories.
— Erin Conron

Erin Conron is a Canberra-born artist who has been working with glass for over 10 years. Her work explores relationships between the dualities of interior and exterior, collective and personal, organic and geometric. She is interested in the personal memories and experiences that build up through out a life, defining character and identity. 

I am interested in the simple daily actions of life, and the way these build through repetition to create the structure of our identity and complexities of our personal stories. Each individual is affected differently by the common experiences of our shared external world. 

Erin uses repetitive linear mark making and the transparency of glass to create vessels with complex layered patterns. These patterns wrap around the vessel, creating a moiré effect, which causes the viewer to see shape and movement in addition to the line work and the form of the vessel itself. The vessel is painted with an enamel which Erin then scratches back into using hand held implements over many hours of repetitive mark-making. The work seeks to find a balance between pattern and form, to invite contemplation and reflection.

Erin’s working style was initially developed through using a graal technique – an extremely labour intensive process involving multiple hotshop sessions and firings. Since becoming mother to her two young daughters she has evolved her practice to suit her changed lifestyle, now utilising mark-making techniques that do not require any special equipment and can be accomplished in her home studio in Queanbeyan.

Painting on glass in this way, which I consider to be a developing style of work in my practice, is a very deliberate decision to spend extended time working with my hands in close contact with the glass. 

Erin studied glass at the ANU School of Art & Design, where she received her Honours degree in 2008. Erin is represented locally by Beaver Galleries, and had her first solo exhibition there in 2013.
 

Brian Corr, Lux Mandala

... my work seeks to embody a sense of the profound and the transcendent.
— Brian Corr

Brian Corr creates sculpture and large-scale installations, facilitating contemplation through explorations of perception, activations of light and shadow, volume and void. Lux Mandala explores the translation of a rare optical phenomenon into a mechanism for contemplative experience. What follows is an evolution from the application of glass to create an aesthetic object to the application of glass to serve purely as a vehicle for the transmission of light, embodying a sense of the profound and the transcendent.

Originally from Colorado, USA, Brian received his degree from Hastings College, majoring in Studio Arts with an emphasis in glass. He subsequently worked, studied and taught throughout the US and abroad, including three years at the Corning Museum of Glass.

He moved to Australia in 2005 to pursue his Masters degree from the ANU School of Art & Design in Canberra. Since completing his Masters in 2007, Brian has exhibited nationally and internationally, and was recently included in the Modern Masters exhibition in Munich. 

Brian’s work has been included in numerous public and private collections throughout the world, including the National Gallery of Australia and the Toledo Museum of Art. Brian was also awarded the prestigious Tom Malone Prize by the Art Gallery of Western Australia in 2012. He has recently been an instructor at the Pilchuck Glass School and the Penland School of Crafts in America.

This new work represents a significant advancement in Corr’s studio practice and PhD research, which investigates the elements of contemplative space and experience in Japanese architecture.
 

Mel Douglas, liminal I, liminial II, liminal III

... I am using line as a way to inform, define and enable, three-dimensional space.
— Mel Douglas

The delicate subtlety of Mel Douglas’ work comes from the slow and considered process of engraved mark-making. Objects and drawings are often thought of as two separate disciplines. With this work Mel is exploring and interweaving the creative possibilities of this liminal space, where the glass form is not just a substrate for drawing, but a three-dimensional drawing itself.

The triptych liminal I, liminal II, liminal III explores the notion of a liminal period which consists of three stages: the separation, or detachment of a subject from its stabilised environment; the margin, which is an ambiguous state for the subject; and the aggregation, in which the passage has completed and the subject has crossed the threshold into a new fixed, stabilised state. 

Using the unique qualities of the material, and the rich potential of mark-making on and with glass, I am using line as a way to inform, define and enable three-dimensional space. 

Mel is a graduate from the glass workshop of the ANU School of Art & Design. She has exhibited in many group and solo exhibitions both nationally and internationally, including the US, Singapore and Italy. Mel has been featured in numerous publications and her work is held in permanent collections such as the National Gallery of Australia and the Corning Museum of Glass.

Mel’s mastery of her craft is highly regarded and has earned her many awards including the 2014 Tom Malone Prize, 2007 International Young Glass Award, Ebeltolft, as well as the 2002 Ranamok Glass Prize.

Mel is represented by Beaver Galleries.

Rose-Mary Faulkner, Of Surface and Form

The body is simultaneously familiar and foreign to us – it is with us always, yet we only ever have a restricted personal viewpoint of ourselves.
— Rose-Mary Faulkner

Rose-Mary Faulkner investigates ways to observe and experience the body, and ways of visually expressing feeling and sensation.

The body is simultaneously familiar and foreign to us – it is with us always, yet we only ever have a restricted personal viewpoint of ourselves. 

Rose-Mary graduated from the ANU School of Art & Design with a Bachelor of Visual Arts (glass) with Honours in 2016. Her honours year saw her conducting tests and explorations combining bodily imagery with the materiality of glass surfaces to observe and map her own figure. Of Surface and Form was one of her final works from this time. 

Rose’s practice primarily explores decal imagery on glass. She photographs sections of the body and abstract these images through digital manipulation. After transferring this imagery to glass using decals she further manipulate the surface and form through multiple fusings or coldworking. 

These works, activated by light, represent bodily form through simple but visually engaging shapes. Their organic shape mimics the smooth curve of the female figure. The rondel surface is made up of two conjoining images that are both ambiguous and soft, displaying curves and creases that appear as parts of a body. The slightly slumped surface activates the imagery into a sculptural form evocative of the movement and gesture.

Rose-Mary was a finalist in the 2016 Wagga Wagga National Emerging Glass Art Prize and exhibited her work in Fresh Glass at Canberra Glassworks. Rose-Mary’s undergraduate work received honourable mention in the Glass Arts Society International Student Online Catalogue in 2016. As part of the School of Art & Design Emerging Artist Support Scheme she received a residency at Canberra Glassworks where she explored different ways of combining glass, surface variation and photographic imagery within her practice.

Hannah Gason, Watching, waiting

I am fascinated by visual energy and structure and finding a harmonious balance between them. My art works explore this inherent tension and the unique materiality of glass.
— Hannah Gason

Hannah Gason’s creative process is reflective and intuitive, often inspired by her experiences in the Australian landscape. Watching, waiting evokes the sense of calm found through natural movement and linear structure, and relates to Gason’s observations and visual experiments while at a river.

One day, I sat alongside the river, waiting for low tide so that I could cross. Hours passed. As I waited, I began to more keenly sense and observe my surroundings. The urgency I had felt to cross the river dissipated. I intently watched the slowly receding water line. I was drawn to create a line of grass fronds from the beach, and continued methodically until I reached the edge of the water.

Fascinated by visual energy and structure Gason seeks to find a harmonious balance between the two. She explores this inherent tension through glass, experimenting with the fluid materiality of the medium, employing kiln forming techniques to interact with colour, line and pictorial form. The coloured glass strands of Watching, waiting mimic grass fronds – catching the light they seem to gently sway and overlap. By expressing a visual balance of contrasts, Gason seeks to recreate fleeting moments of truly contemplative experience.

Canberra-based, Hannah graduated from the ANU School of Art & Design in 2015 with a Bachelor of Visual Arts (Glass) with First Class Honours and a University Medal. Hannah has undertaken residencies at the Bullseye Glass Company (US) and the Canberra Glassworks, and was recently a visiting artist at Berlin Glas. Hannah has received scholarships and grants to travel to the Pilchuck Glass School (US), the Corning Museum of Glass (US), and North Lands Creative Glass (UK), as well as assisting at the Studio at the Corning Museum of Glass and the Penland School of Crafts (US). Her work has been exhibited nationally and internationally, and is housed in the Australian Parliament House Art Collection, the Australian National Art Glass Collection, the ANU Art Collection, and private collections.

Jeremy Lepisto, The Parcel

My most current work is inspired from a personal experience ... I dispatched an 18 cubic meter-shipping container filled with ... my life’s belongings from America to Australia.
— Jeremy Lepisto

Jeremy Lepisto makes artwork that incorporates and is inspired by the forms and images of his everyday surroundings. By exploring and utilising purpose-constructed elements of the built environment, Jeremy looks to transliterate the duality of connected and developing narratives that involve both individuals and place into form. 

The Parcel takes the form of a modern shipping container, and draws on Jeremy’s personal experience of dispatching an 18 cubic metre shipping container filled with a carefully considered and condensed collection of his life’s belongings from America to Australia. 

With the availability and aid of a shipping container, I internationally transported my goods safely and efficiently. In the same act, I also exchanged the epicentre of my life. This shift altered my personal timeline and connections to both people and places. 

Jeremy received his Bachelor of Fine Arts from Alfred University (in Alfred, New York, USA) in 1997, majoring in glass and metals. Following graduation, he went on to become Production Manager Apprentice at the Bullseye Glass Company in Portland, Oregon – an experience that formed the basis of his glass kiln forming knowledge. 

In 2001 he left Bullseye and started an independent studio – Studio Ramp LLC, which ran for eight years. After re-locating to Canberra, Jeremy established an independent glass studio – Workshop Level in Queanbeyan, where he is again making kiln formed works for other people as well as working on a body of practice-led research for a PhD degree in Sculpture from the ANU School of Art & Design. 

Jeremy is represented by Beaver Galleries.

Jennifer Kemarre Martiniello, Bush Flowers & Seedpods Bicornual #1

My intention is to appropriate the contemporary medium of glass to become a vehicle for cultural expression.
— Jennifer Kemarre Martiniello

A graduate of the ANU School of Art & Design, Jenni Kemarre Martiniello is a prolific artist and writer who has relatively recently taken up glass as a medium. Bush Flowers & Seedpods Bicornual #1 is a work inspired by the unique and beautiful forms and colours of native blossoms and seedpods distinct to Australian flora – in particular those of Jenni’s grandmother’s country in Central Australia and from places she herself has lived. Created with murrine made by recycling complex triple and double glass canes – sometimes recombined and pulled multiple times – this work pays tribute to the traditional bicornual form of woven baskets used by women to collect medicine plants in far North Queensland, and the larger men’s bicornuals used in Southern Australia to carry large curved hunting weapons. 

As an Aboriginal (Arrernte) artist I seek to invoke the organic ‘weaves’ and forms of traditional woven objects such as eel traps, fish traps and dillibags in my hot blown glass works, and pay tribute to the survival of the oldest living weaving practices in the world. My intention is to appropriate the contemporary medium of glass to become a vehicle for cultural expression. 

Jenni’s introduction to glass came during a group residency at the Canberra Glassworks in 2008. The residency program IndigiGlass08: Postcards from the Referendum was created to mark the 40th anniversary of the 1967 Referendum on Aboriginal rights. Jenni was one of four artists involved who had been working together as part of the Indigenous Textile Artists Group. Following her move into glass work Martiniello was a finalist in the 2011 Ranamok Glass Prize with her Eel Traps series. Her works are now held in significant public and private collections.

Catherine Newton, Mum’s Hug 3588, 21290, 11098, 11505

My current practice investigates the phenomenology of glass and how this medium can embody a sense of maternal love and intimacy.
— Catherine Newton

Catherine Newton’s current practice investigates the phenomenology of glass and how this medium can embody a sense of maternal love and intimacy. Largely biographical, her work focuses on her relationship with her four children, as well as celebrating and promoting the important role mothers have in society. 

The Mum’s Hug series represents the physical and emotional connection of a mother and child through touch, specifically the act of hugging. Exploiting the fluidity of hot glass at temperatures of between 700 and 800 degrees celsius, Catherine wears layers of heat resistant fabric -including a fireman’s suit- to perform the act of a hot glass hug. An analogy is drawn between hugging hot glass – intimidating and invigorating – and that of being a mum, which is also daunting and stimulating. The resultant textured, transparent sculptural forms are the artefact of the act. The placement of each form on the wall highlights the various ages and sizes of her children. 

In the area of glass art, there are few works about the mother-child relationship… Initial stages of my research focused on the importance of maternal touch where I explored ways of conveying the motherly connection through gesture and the idea of my hands nurturing my children. As the year progressed I considered the importance of hugging my children and how I could give substance to this intangible act. 

Informed by psychology and theories of ‘nature versus nurture’ and influenced by artists Mary Kelly and Louise Bourgeois, Catherine delves into the formal and metaphorical potential of glass to convey the complex connection of mother and child. In 2016 she graduated from the ANU School of Art & Design with a Bachelor of Visual Arts (Honours) and was awarded the Emerging Artist Support Scheme Peter and Lena Karmel Anniversary Award for best graduating student. Newton was Graduate in Residence at the Canberra Glassworks in March 2017, during which time she began to fulfil her ambition of involving mothers from the Canberra community in her work. 

Peter Nilsson, What once was

In Siberia in the year 1909, a hunter who went looking for his dog found a completely preserved woolly mammoth in the permafrost. I read this story when I was nine years old, and it has fascinated me ever since.
— Peter Nilsson

Peter Nilsson began his working life as an engraver in the glass industry in Sweden. Besides working as a designer, engraving and figurative expression has always been his language of choice. What once was shows Peter’s technique of enclosing engravings in laminated glass sculptures, creating pictures that have neither a front or a back side. The viewer is given a chance to see the pieces from different angles and to read new stories when they look at them, into them and through them.

Peter grew up in rural Sweden in the neighbourhood of the Orrefors Glassworks and village. Surrounded by workshops where he was allowed to play as a child, glass seemed the most natural material to use and Peter decided at the age of seven he would become a glass engraver.

What once was is inspired by Peter’s roots in the far north, and a story that fascinated him as a child. 

In Siberia in the year 1909, a hunter who went looking for his dog found a completely preserved woolly mammoth in the permafrost. I read this story when I was nine years old, and it has fascinated me ever since. In 1990 I was lucky to see this remarkable animal with my own eyes in an exhibition. 

The mammoth is an iconic representative of the mega fauna. With Africa (where we first appeared) as an exception, the mega fauna has disappeared on every continent that the humans have moved to. Now we are occupied by scoring easy political points at the expense of the environment. The result might be our own extinction. Will the world miss us? 

After graduation from the senior high school program at the National Glass School in Orrefors, Peter was hired as a glass engraver at Pukebergs glassworks, where he stayed for seven years assisting a range of designers. After university, Peter spent nine years at the Swedish National Glass School as a teacher in coldworking techniques, sketching techniques and art history.
Peter relocated to Australia with his partner in 2010, where he continues to work as a freelance artist.

Kirstie Rea, The gurgle in my gut

We live under an ocean of air. That ocean has volume, it lives and breathes as we breathe it. It is charged with place, imbued with what lies below, tainted and tinged, tasting of what’s been and what is to come.
— Kirstie Rea

Kirstie Rea established her studio in 1987, and over the past 27 years has devloped her practice to become internationally recognised and respected for her works in glass.

For many years Kirstie’s work has explored intervention and attachment to place. Bringing together the external and the internal Kirstie is investigating how we have shaped and marked place and in turn how place shapes our navigation both physically and mentally across and into it. She is drawn to places distant from built environments to continue this exploration and cites the importance of silence and solitude in the field to ‘filter and ferment ideas’. This work, The gurgle in my gut, relates to this working process. 

We live under an ocean of air. That ocean has volume, it lives and breathes as we breathe it. It is charged with place, imbued with what lies below, tainted and tinged, tasting of what’s been and what is to come. I ingest it, I digest it, filter and ferment it. That digestion is like a conversation with myself, with my gut, it feeds and nourishes my thinking towards making.

Kirstie was a staff member of the glass workshop at the ANU School of Art & Design from 1987 -2003, and was the inaugural Creative Director at the Canberra Glassworks. She has taught in her field of kiln formed glass and coldworking techniques across the world since 1987. She has exhibited widely internationally and her work has been included in numerous Australian Glass survey shows. In 2009 Kirstie received the Ausglass Honorary Life Membership Award for her contribution to the education of glass in Australia, and in 2014 was awarded the 2015 CAPO Fellow Award (Canberra Arts Patrons’ Organisation). She was the recipient of the 2016 Canberra Glassworks Fellowship.
 

Tom Rowney, Red Pool

In this form I aimed to capture the essence of water in its liquid state, a drip, a drop, into a still pool and the elastic forms the water creates when disturbed on the surface.
— Tom Rowney
Tom Rowney, Red Pool, 2017, blown glass incalmo and merletto technique, 23 x 37 x 37cm. Photo: Adam McGrath.

Tom Rowney, Red Pool, 2017, blown glass incalmo and merletto technique, 23 x 37 x 37cm. Photo: Adam McGrath.

The Venetian-style of working hot glass has been a strong and steady influence throughout Tom Rowney’s artistic practice. He utilises these techniques from a contemporary viewpoint, aiming for detail and accuracy to create a precise piece of glass. A sense of flow and timing dictate Tom’s working style, evident in the line work and intricate patterns in his pieces. Red pool is based on the fluid nature of blowing molten glass, and the relationship to the visual, water-like qualities of the solid state of blown glass.

I aimed to capture the essence of water in its liquid state, a drip, a drop, into a still pool and the elastic forms the water creates when disturbed on the surface. Through the use of canes as graphic line work both on and below the glass surface, I reference the eddying and swirling effects of a rippling body of water. 

Tom began his glassmaking career at the Budgeree Glass Factory in Port Adelaide, South Australia with a traineeship with Australian glass artist, Nick Mount. Tom has gone on to teach and assist at an extensive variety of international schools and studios. Tom received an undergraduate degree from the ANU School of Art & Design in 1996, and since this time his work has featured widely in exhibitions in Australia and overseas. 

He is currently employed at the Canberra Glassworks as the Technical Manager, as well as teaching part-time and continuing with his practice as a professional artist.

Tom is represented by Beaver Galleries.

Harriet Schwarzrock, limitless

These blown glass tendrils loosely scribe the word limitless – ascribing a sense of the expansive nature of human experience, whilst referencing the temporal and shifting passage of matter in the world.
— Harriet Schwarzrock

Harriet Schwarzrock has exhibited nationally and internationally, and for the last several years has been working consistently with hot glass and sculptural forms. limitless is a continuum of her recent studio explorations, researching and exploring organic and asymmetrical forms, interconnectivity and themes of tactile and implicit human experiences. The components within her work are most often derived from biological forms, referencing organic systems as she seeks to understand how structures and experiences ‘fit’ together.

The mirrored, fluid forms of limitless casts light and shade. They bend and lean into the surrounding space. Blown glass tendrils loosely scribe the word ‘limitless’, suggesting a sense of the expansive nature of human experience whilst referencing the temporal and shifting passage of matter in world. Another piece from this body of work, breathe, won the sculpture prize in the Waterhouse Natural Science Art Prize in 2014.

Harriet graduated from Sydney College of the Arts in 1999 with Honours in visual arts, majoring in glass, after transferring from a science degree. Prior to graduating, she travelled through North America visiting renowned workshops and studios, assisting artists including Laura Donefer and Steven Rolfe Powell. On her return to Australia, Harriet began assisting at Denizen Studio, Sydney, working with many of Australia’s best glassblowers, developing her skill and technique and finding inspiration and influence for her own work.

Harriet’s practice is currently based in her backyard, where she and her partner, glass artist Matthew Curtis, run a hot glass studio together. 

Yusuke Takemura, Mori No Mizu

Rain falls on the mountains and grows the forest.
The mountains filter the rain and feed us clear water.
What do we return to the sky...
— Yusuke Takemura

Yusuke Takemura was born in Japan and currently lives and works in Australia. Yusuke’s intriguing, poetic forms – which he describes as ‘complicated and mysterious objects’ are subtle investigations of making the invisible world visible. The sculptural objects are intentionally fragile in structure. Yusuke cuts holes into the thin surface of his glass forms before laboriously fine grinding and polishing all the hole’s edges. The boundaries between void and transparent surface blur to create an optical illusion. 

Yusuke’s innovative methods are a daring fusion of traditional technique with contemporary knowledge that he has developed to translate ideas concerning human experience, history and place. He developed his technique of glass surface treatment and cutting whilst in Japan under the guidance and training of internationally renowned glass artist Toshio Iezumi, having completed his Bachelor Degree in glass from Kurashiki University of Science and the Arts. In 2009 Yusuke continued his studies in Australia, completing a Masters Degree from The University of Sydney. During this concentrated period of studio research Yusuke honed his highly specialised skill of cutting precarious organic shapes through fragile glass forms into a strong, highly individualistic visual language.

Yusuke has been awarded several major prizes, most recently in 2011 The Ausglass Vicky Torr Memorial Prize, The Ausglass Sabbia Gallery Solo Exhibition Prize and was shortlisted for the prestigious Ranamok Glass Prize.

John White, Between Walls

Looking at the world through the wonders of the industrial revolution, this piece extracts the simplicity of the RSJ or I-beam to reveal the corner stone of world’s most impressive constructions...
— John White

John White is an artist whose practice is infused by the wonders of discovery and history – that which has shaped and influenced our world. He likens this diverse subject matter to how his life has taken many paths, and believes that his heritage, working career and education have all stemmed from his relationship as an artisan with the tools of his trades and practices. 

This piece evokes my personal experience working in the construction industry. We think of our walls as structural identities with a simplistic purpose. This work explores the sculptural and architectural splendour of a construction material visually hidden between our walls. 

Looking at the world through the wonders of the industrial revolution, Between Walls extracts the simplicity of the RSJ or I-beam to reveal the cornerstone of the world’s most impressive constructions, that have emerged from the ground to unbelievable heights. John threads these ideas through his sculptural works and artistic practice, both of which encompass his passion for craftsmanship and making. 

Graduating with a BVA in glass with Honours from ANU School of Art & Design, John maintains a studio at the Canberra Glassworks. His accomplishments since graduating have been significant; include being awarded the 2015 Ausglass Vicki Torr prize for a solo exhibition at Sabbia Gallery in 2017; being a finalist both in 2016 National Emerging Art Glass Prize and Hindmarsh Prize; and in 2016 being awarded the first Asialink reciprocal residency between Canberra Glassworks and Toyama Japan, which included a solo exhibition at the Toyama Museum of Glass. 

Richard Whiteley, Push – Pull

... light shudders through the material, bringing with it an ambiguity regarding what is solid and what is void, provoking us to lose sight of what we are viewing as we look into these corporeal forms.
— Richard Whiteley

Richard Whiteley’s studio-based practice uses cast glass to explore negative structures and suggested forms in glass solids. He employs voids as a primary compositional element, allowing the architecture to be shaped by the unique material properties of glass, which invites an overlaying of form and light. The phenomena of light, concepts of illumination and ways of seeing are constant sources of inspiration that Richard considers and explores through the act of making.

I strive to create works that evoke concepts of space and elicit a sense of wonder within the viewer. I see glass as a substrate that is activated and animated by light. Its qualities of transparency and translucency are the agents within the work that create the dialogue between these positive forms and negative spaces. 

Richard began working in glass at the age of 16, as an apprentice within a stained glass workshop. He obtained an undergraduate degree from the ANU School of Art & Design, majoring in glass, followed by an MFA from the University of Illinois, majoring in Sculpture. After several years of teaching and studio-based work, Richard is again in Canberra as Head of the glass workshop at the ANU School of Art & Design, running his practice from his Queanbeyan based studio.

In Richard’s latest works, the geometry and the language of architecture has lessened, and the body has become an increasingly important point of reference and departure. His most recent works emerged in response to the deciphering of MRI imagery, following a series of family illnesses. 

The translucency of glass, allowing the overlaying of exterior structures and internal forms, provides the perfect foil for me to contemplate consciousness, embodiment, existence and loss; light shudders through the material, bringing with it an ambiguity regarding what is solid and what is void, provoking us to lose sight of what we are viewing as we look into these corporeal forms.