Ausglass

Held within

In an attempt to evoke a common sense of nostalgia, Held within explores our relationship with household objects and how their simple, yet recognisable forms can bring back associations of a place or time. In this work I have utilised the familiar form of the bowl, and through a variety of glass painting processes I have explored imagery and textures which I associate with home. Through repetition and the careful yet casual stacking, these bowls transform into a beautiful sculptural form.  

24 x 35.5 x 24cm

Blown, cold worked and enameled glass

e: netty.blair@gmail.com

w: annetteblairglass.com

s: @nettymayblair

A matter of degree

This sculpture asks the viewer to consider the degree of future environmental loss from increased sea surface warming. Tasmania’s marine habitats, some of the most biologically diverse in the world, are impacted; cold water loving Giant Kelp Forests have disappeared (the transparent ‘ghosts’ in this work).  Unique kelp-covered reefs, colourful sponge gardens, soft corals, anemone and algae varieties are at risk. Similar past lost bounty is now seen only ‘under glass’ in academic collections.

41 x 30cm (diam)

Flame-worked soda lime and borosilicate glass, pate de verre, sandblasted, glass paints, pencils, air dry clay, found dome, assembled.  All flame-worked components were created with a small Hot Head torch.

e: heleneboyer2@gmail.com

s: Instagram @hmboyer

To hold

This work utilizes traditional glass cutting techniques in a modern design, exploring the function and balance of blown glass forms.

25 x 25 x 60cm

Blown glass with Swedish overlay technique, cold-worked and wheel cut, fire-polished

e: kristel.britcher@gmail.com

w: kristelbritcher.net

s: @kristel_adele

Beside the escarpment II

Beside the Escarpment series pares down my kiln formed glass to create a minimal vignette evoking notions of an ephemeral landscape. Inspired by both the natural world and the transitory nature of the human existence, my dreamlike images allow viewers to draw associations with their own remembered landscapes, resulting in a meditative and emotional response. Rather than a direct reproduction they are my own interpretation of light and landscape.

100 x 95 x 1cm

Kiln formed and enamelled glass wall panel.

e: lisa@lisacahill.com

w: www.lisacahill.com

s: @lisacahillglass

What a galah

As a lifelong nature lover I’m always trying to replicate the beauty of Australian native fauna and flora in Glass as a way of asking the viewer to appreciate what we have and how precious and beautiful it is.

25 x 25 x 25cm

Flame worked soda lime glass bird and blue gum sprig. Borosilicate glass branch. Cast bronze feet and copper wire and stand.

e: stephryn@bigpond.com

w: kathrynchaston.com.au

Reveal

Reveal is the offspring of discoveries made since reclaiming guardianship and the ongoing healing and regeneration of our piece of native land with 600 year old forest, natural springs and waterfalls.
An emotional journey where the continued effects of recent human neglect and abuse, caused and influenced by addiction and mental health has impacted on the surrounding environment and the life it tries to nurture.

19.5 x 37.5 x 16.5cm

Lost wax kiln cast 45% Gaffer lead crystal

e: je.dunstan@xtra.co.nz

w: www.evelyndunstan.co.nz

Down at the water table

“Down at the local, after a solid rain, we were having a good natter over a drink when we accidentally bumped branches under the table.  Next thing our mycorrhizal fungi connected and it was on!”

Since reading Peter Wohlleben’s: The Hidden Life of Trees, I am no longer able to see these organisms merely as chunks of wood with bark and leaves on, but as entities with some kind of undeniable intelligence and character.  Instead, I now commit the different sin of anthropomorphising them.

69 x 58 x 12cm

This work is Flame-sculpted and blown from clear and coloured borosilicate glass. The table is recycled Australian Red Cedar with dovetail joints, The trunks of the trees are hollow, transparent at the front with the roots ground in like stoppers into scientific glass vessels and contain water.

e: mark@markeliottglass.com

w: markeliottglass.com

s: instagram: markeliottglass Facebook: markeliott

A single perspective

My current work presents a study of the female form from the unique subjective line of sight we have of ourselves. In this way, I aim to map and record the female figure through abstracted and layered photographic imagery in order to analyse form and surface - the body unfolding from itself as line and tone. This allows for consideration of the role of the gaze, providing a female perspective on the female form.

20 x 85 x 0.5cm

Kiln formed glass with decals

e: rfaulkner.artist@gmail.com

w: rose-maryfaulkner.com

s: @rfaulkner.artist

Our woodland - marri

We are fortunate to have a small native woodland on our property.  This piece represents one of the trees we have.  The glass extends the stump speaking to the fragility of nature in our current environment.

25 x 63 x 25 cm

This piece is made by fusing powdered glass onto sheet glass, slumped, then cold worked. The marri wood is cut from fallen tree branches found on our property.

e: siju@live.com.au

w: sijuglass.com

s: Facebook sijuglass

Quintet

Each vessel was blown by master glass blower Richard Morrell in Melbourne, according to my designs, loosely based on ancient Greek & Roman amphorae. There are five layers of enamels fired onto the glass surface.The arrangement of the group will vary with every iteration thus creating a dynamic, subtly changing sculpture.

40 x 30 x 50cm

Blown glass, vitreous enamels

e: jhamilton@stainedglass.com.au

w: www.stainedglass.com.au

s: Instagram jeffhamiltonglassartist

Awe

A gum blossom blooms, a rainbow appears…..
A short fragment of time to appreciate and reflect on a wonderful life and making the most of every day.

28 x 75 x 15cm

Cast glass with flame worked glass.

e: lee@leehowesglass.com.au

w: www.leehowesglass.com.au

Go fish

In this piece I use layers to show not just the fish but subtle waves in the layers of glass to suggest reflections from the seabed and the movement and play of light when fish swim in shallow water.

36 x 36 x 6cm

Kiln formed glass; fused, slumped and cold worked

e: viviennej@me.com

s: Instagram: vivienne_jagger_glass_artist

Labyrinthine l

Inspired by ancient mountain and rock formations of Central Australia, I aim to utilise the materiality of glass to evoke sensations of wonder.  The processes used to create the work simulate sedimentary and igneous rock formation.  These indexical signs of ancient geological processes are contrasted with the form of a classically shaped bowl, symbolising human intervention.

Panel: 60 x 40cm, Bowl: 40 (diam) x 7cm

Kiln-formed glass

e: ritakellaway01@gmail.com

w: ritakellaway.com

s: Instagram rita_kellaway

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Collaboration

In 2018 to celebrate more than 100 years of their collective journey in glass Peter Minson and Patricia Parker worked together to create collaborative works that reflects their quite separate artistic journeys of lampworking and kilnforming. ‘’Collaboration” reflects the outcome of their initial discussion about fruit resting on a tablecloth in an outdoor ‘’picnic” surrounding.

24 x 24 x 4cm; 34 x 23 x 1.5cm

'Tablecloth with Fruit' - tablecloth - kilnformed Spectrum glass; Fruit - lampworked Moretti Glass: 'Floriade' - lampworked figures - Bullseye Glass; curved  and kilnformed panel - Bullseye and Artista Glass

e: patriciaparker@homemail.com.au

w: minsonartglass.com.au

Modern relic

Combining function and aesthetics with a focus on vessels that emphasize the light transmitting properties of glass. Inspired by our modern, technologically driven lives, my works reflect these themes through intricate designs and motifs. I use the glass as a canvas by engraving and sandblasting the surface, prompting the viewer to reflect on our modern lives. This creates layers of dimension that tell stories and evoke emotions in the viewer.

Aquamarine vase: 22 x 33 x 22cm, Blue: 15 x 30 x 15cm

e: jessica.murtagh@hotmail.com

Fire and flame

In this lampwork necklace I have attempted to capture the magic that is fire outside of the flame.  Using numerous shades of red, orange, yellow and amber, have taken the molten state to sculpt, shape and form each bead into a radiating object.  

Necklace measures: ~45cm (length).  Each bead: ~3-5cm (diam)

Lampwork beads using Effetre and Reichenbach 104 soft glass rods, melted and sculpted on a basic Hothead torch.  

e: maws_nugent@yahoo.com.au

w: www.beadoire.com

Kate’s work explores the way in which our private identities are expressed through the objects we line our nests with and the material mass we will eventually leave behind. With a nod to modernist design, the work is at once comforting in its familiarity, while also implying the inevitable implications of the passing of time. By exploiting the transformative properties of glass, Kate morphs kitsch shells and knick knacks, 1970s wallpaper and gaudy flowers into a precious homage to everyday collections and domestic decoration

www.katecnixon.com

Contrasts

Creating negative and positives spaces and the shadows they formed were my inspiration to create these 3 glass panels.

50 x 26 x 2.5cm

Kiln fired glass mounted on treated timber

e: impyim@hotmail.com

s: instagram

A whimsical work called Alice

I enjoy people and a good "chin wag", so I am pleased to introduce my Whimsical friend Alice. Alice is a free spirit, free formed with no preconceived borders or boundaries, I think a little like “playing a piano by ear”. I pulled stringers and each loop was added and shaped individually. Together we shared tears and joys, she feels like my best friend. I like to think this piece is very much a reflection of who I am, how much I enjoy my chin wags and how wonderful it is when two souls meet.

30 x 48 x 30cm

I used 4.5metres of Borosilicate Rod and approx 60 hours at the flame to complete this piece. There were many annealing sessions over this time. It took a high demand in focus and concentration and as such some of my work was as short as half an hour and a maximum of 2 hours before a break. The base is clear kiln glass, tac fused and a hole drilled through the centre to support and stand the piece.

e: cheriev@iimetro.com.au

s: Facebook and #cherieplatenglassart

Mean girls

From “Sweet Fruit from the Garden of Fear” .. Systemic anger is a product of deep rooted fear. Left unaddressed, it becomes an ingrained and cherished component of the psyche. These are scaled-up models of 50-calibre bullets; beautiful and graceful but lethal in intent. Their polished tips give them the look of precious totems brought to a high shine by the touch of hungry hands seeking comfort and assurance.
Pretty pretty
Pretty mean
Pretty scared
Pretty angry
Pretty pretty

Five objects; each 40 x 15cm (diam)

Solid kiln-cast Bullseye Glass, cold-worked.

e: aplummer@xlx.com.au

w: Andy Plummer.com.au

The earth moved again

Landscapes change with the season and the time of day, changing with a turn of the eye - always different. We are left with powerful visual images. Caught between our memories and our expectations, they are often simplified and recalled as evocative lines and colours.

43 (diam) x 5cm

Fused, slumped, cold worked glass

e: gayle.shaw@sciarts.net.au

Grow

Flowers mean many things to different people. They celebrate life, milestones, joy and sadness. For myself, Grow represents my personal journey in the past 12 months, a flower for each month, colours representing each passing season. I feel as this piece has bloomed to reflect the humble growth I have achieved as an emerging artist.

13 x 18 x 31 cm

The flowers are made from 104 moretti soft glass, the planter has been fused with system 96 glass and detailed with enamel powders and vermiculite has been used as potting mix .

e: firemakesitgood@gmail.com

w: www.hextasy.com

A moment in time

‘A moment in time’ is a continuation in a developing series of sculptures investigating the significance of invention and measurement throughout history. Combining the unassuming perfect shape of a circle with the ancient formula of the golden mean to find and identify the point of balance, this piece gives a sense of precarious movement and gesture. The stillness and gravity contained within a moment of inspiration poised at the edge.

22 x 190 x 280cm

Float glass, metal, wood, printing and cold-worked.

e: whiteglassjohn@gmail.com

w: whiteglass.com.au

Image flowers series - Ripple 4

Memories perform on surface of the work, and occasionally are in its absorbed reflections. The work combines the implicative and realistic by my hand. Sometimes the luster of glass doesn’t seem to have any apparent complexity, but upon a slight change of angle, a slanted beam of light will permeate it and illuminate hidden space inwardly. From a solid state to a half liquid of fusion and integration, the work display a dream world of partial existence, pass between imperceptions to perception.

44 x 10 x 48cm

Diversiform Fusing and Casting Technique, Crystal Glass

e: taiglass@outlook.com

w: www.taiglass.org