Artist statement: The EXPANSION series is my thinking on the beginnings of all things, the big bang, the development of the universe in all its manifest wonders. I find I am inspired by the powerful imagery described in science fiction, and the pictures taken from telescopes, by looking out, are we looking forward or looking back? Using glass kiln techniques and construction methodologies to create pieces that could be part of the technologies needed to bring deep space into the human sphere. What will expansion into space look like? What will humans find? Will it be:
“Chaos and Catastrophe unbound,
worlds forming, thrust together,
Colour and light,
before elemental forces ruled”
… Or something else entirely?
August 2020, 40 X 30 X 32cm. Fused glass, mold-cast glass, cold working, hand tooling, hand assembly. Bullseye Glass. Epoxy. Image: G. Redman.
August 2021, 35 x 12 x 26cm. Fused glass, tool working, cold working, hand assembly. Bullseye Glass. Mirror float glass. Epoxy. Image: G. Redman.
September 2020. 40 x 30 x 12cm (various). Cast Glass, cold-work, Bullseye Glass, 5 pieces total. Image: G. Redman.
September 2021. 4 x 40 x 40cm. Fused Glass, hammer, mold-cast glass, more hammer, open-face casting, cold-working. Bullseye Glass. Image: G. Redman.
Artist statement: Inspired by holistic therapy, my practice intends to awaken non-reactive awareness and healing, through meditative lamp-working and Chinese calligraphy. The mark making like, organic, gestural glass forms reflect the engagement of external hand manipulation and internal inhalation and exhalation, which also reflect the materiality cycle of glass—softening, melting, condensing, distorting and hardening. Some sculptural glass forms are filled with essential oil. The homeopathic scent diffuses through the cork stoppers, evokes a sense of calming and soothing, encourages a space for healing.
March 2021, 208 x 180 x 15cm. Lamp-worked borosilicate glass, ink on rice paper, sterling silver and nylon thread. Image: Steph Fuller
September 2021, 20 x 15 x 20cm. Lamp-worked borosilicate glass, essential oil and cork stopper. Image: Michael Haines
September 2021, 22 x 14 x 15cm. Lamp-worked borosilicate glass, essential oil and cork stopper. Image: Michael Haines.
September 2021, 20 x 18 x 10cm. Lamp-worked borosilicate glass, essential oil and cork stopper. Image: Michael Haines
w: ncqin.com
i: @nc_qin
Artist statement: Modeled after the tower shield (Shuang Hu Dun) in Qin Shi Huang Di’s tomb used during the Warring States, this piece represents the door to the psyche, the facade we all put up that hides our rich inner world. Foreboding but enchanting, it shuts us out yet pulls us in - a heavy portal to another world that others can only glimpse through the cracks that form under pressure.
2021. 80 x 110 x 12cm (without base). Cast Glass, Brass, Steel with plaster base. Image: Courtesy of the artist.
Image: Courtesy of the artist.
Ngaio Fitzpatrick is a multimedia artist working with recycled industrial glass commenting on the human relationship to the natural world within the context of climate change. Ngaio is also an Artist in Residence with the ANU Climate Change Institute.
I: @ngaiofitz
Image: Rachel Byron
e: baileydonovanglass@gmail.com
Artist statement: My body of work explores the traditional textile pattern of gingham within hand-blown glass vessels. Gingham is a pattern in which lines of colour cross over and create points of intensity. This iconic checkered pattern has been prominent since the 19th century through its uses in fashion and the domestic setting. I have fond memories of fresh apple pie pulled out of the oven by my grandmother with a gingham tea towel and having picnics on a gingham blanket. It can be found on bed sheets, curtains, dresses, and jam jars. It maintains its status as the all-use domestic pattern with a wholesome, feminine, slightly kitsch feeling. I have re-appropriated this pattern into glass art, aiming to evoke nostalgia through this ever-present textile that is used in all aspects of our lives.
May 2021. Dimensions variable. Blown and cold-worked glass. Image: Pantelis Georgiadis
May 2021. Variable dimensions. Blown and cold-worked glass. Image: Pantelis Georgiadis.
August 2021. 20 x 15 x 15cm. Blown and cold-worked glass. Image: Pantelis Georgiadis.
Artist statement: I am a South Australian glass artist and a current associate at the JamFactory in Adelaide. My works are heavily inspired by repetitive patterns and cycles of the natural world. The transparency and optical qualities of glass make it the perfect medium to explore these themes of repetition and layering - whether through hand etched vases and installations or 3D printed cast-glass sculptures. My most recent artwork, an installation titled ‘Secret Recipe’ explores the ritualistic experience of tasting gin in collaboration with Seppeltsfield distillery. In their house gin, they layer a complex combination of 13 different botanicals, which I’ve translated into a visual tasting experience; it’s a literal recipe of the Seppeltsfield house gin etched onto an installation of 26 glass forms complimented by the fresh scents of juniper, orange and peppercorns. As the viewer looks through the installation they see the origins of each tasting note layered on top of each other, much like how a distiller would infuse botanicals into their gin. Can you spot the notes of lavender and citrus? Many of the botanicals from this installation are grown in the Seppeltsfield and Barossa region - one ingredient that struck me in particular are the vibrant pink peppercorns that can be found all over the Barossa. The bed of pink peppercorns upon which my work rests serves as a reminder of the refined knowledge and skill it takes to distill these stunning raw ingredients into something delicious.
June 2021, 100 x 100 x 50cm. Twenty-six hand-blown sculptural forms with hand-etched botanicals and embeded with white enamel. Sitting on a bed a pink peppercorns infused with junipier and orange. Image: Michael Haines
June 2021, 100 x 100 x 50cm. Twenty-six hand-blown sculptural forms with hand-etched botanicals and embeded with white enamel. Sitting on a bed a pink peppercorns infused with junipier and orange. Image: Michael Haines
June 2021, 100 x 100 x 50cm. Twenty-six hand-blown sculptural forms with hand-etched botanicals and embeded with white enamel. Sitting on a bed a pink peppercorns infused with junipier and orange. Image: Michael Haines
Artist statement: Exploring the liminal space existing between mind and matter, my practice enquires into connection, disconnection, existence and spirituality. Seeking through making the experience of Presence, accessed with directed attention to the immediately perceived mindful moment, process is approached prayerfully as a meditation, a mantra of making. Working with materials that demand my entire focus in commitment with the process, I co-create with the glass. I connect with the work through my breath, imbuing the material like a votive object. I view the spiritual nature of making with an understanding of all matter as equal and relevant, living and non-living: an infinite omnipotence of everything. My practice attempts to elucidate the transformative potential of the art making process and the invaluable importance of connecting with ourselves, each other and Presence as a means of raising consciousness and ultimately, using art as a tool to evolve.
February 2021. Dimensions vary, ranging from 7 x 10 x 7cm - 16 x 28 x 16cm. Evolve consists of over 60 individually blown glass forms. The glass is fixed into a steel base anchored into the earth. Image: Laura Nolan.
February 2021. Dimensions vary, ranging from 8 x 23 x 10cm - 16 x 18 x 65cm Evolve consists of over 60 individually blown glass forms. The glass is fixed into a steel base anchored into the earth. Image: Laura Nolan.
February 2020, 22 x 18 x 20cm. Blown glass roll up of recycled coloured glass pieces, stringers and cane. Image: Laura Nolan
May 2021. Dimensions vary, ranging from 15 x 30 x 20cm - 50 x 75 x 35cm. The blown glass is formed and folded over a steel bar, cold-worked to polish or sand-blasted and installed suspended within the welded steel triangles. Image: Laura Nolan.
Artist statement: My art practice is mystical and connected to poetry, music, mythology, ecology, and philosophy. I work with different media: sculpture, ceramic, paper, canvas and glass. I recently developed a passion for working on glass and I’ve been attending glass workshops for almost a year. I find glass the best medium to represent the beauty of the mangrove roots, seeds and water. The medium is rich, like water, in how it reflects light and overlays of knowledge. These overlays help project a deconstruction of ideas.
July 2021, 24 x 28 x 8cm. Cast glass, sand stone and resin. I used a vitrograph kiln to get a root (cane) shape. I finished the roots with a second firing process called annealing before adding them into the stone. Image: Zahidah Zeytoun Millie
July 2021, 31 x 28 x 8cm. Cast glass, sand stone and resin. Image: Zahidah Zeytoun Millie
May 2021, 19 x 14 x 3cm. Cast glass. Open-mold casting process. Image: Zahidah Zeytoun Millie
May 2020, 15 x 5 x 3cm. Cast glass, sand stone.
Lost-wax casting process. Image: Zahidah Zeytoun Millie
Artist statement: “It’s Personal” is a fused glass block. I began by designing three 6mm panels which depicted my feelings about the medium. Once fused, I cut these up and rearranged them in intricate patterns in a clear glass block. The viewer can approach the work from multiple angles and always see something different. The glass will reveal some, but not all, of my process and emotional connection to the medium.
March 2020, 10 x 10 x 6cm. Bullseye glass, frit. Image: Zoe Weston.
March 2020, 10 x 10 x 6cm. Bullseye glass, frit. Image: Zoe Weston.
Artist statement: I am interested in the infinite permutations of structural pattern, colour, control and chaos. Places play a big part in my inspiration. Building various patterned layers and constructing forms within the boundaries of chance and intent.
September 2021. 14 x 21 x 14cm. Hot-worked murrini, kiln-formed glass, sand-blasted finish. Image: Cheryl Edwards
August 2021. 7 x 21 x 7cm. Hot-worked murrini, kiln-formed glass, sandblasted finish. Image: Cheryl Edwards
August 2021. 6.5 x 21 x 6.5cm. Hot-worked murrini, kiln-formed glass, sandblasted finish. Image: Cheryl Edwards
September 2021. 7 x 15.5 x 7cm. Hot-worked murrini, kiln-formed glass, sandblasted finish. Image: Cheryl Edwards
