RANAMOK GLASS PRIZE 2009
Underwriters of the 2009 Ranamok Glass Prize
RANAMOK GLASS PRIZE SPONSORS 2009
Contents The Ranamok Glass Prize 2009
3
Introduction
4
Finalists
2
Kate Baker
6
Nejat Kavvas
42
Emma Borland
8
Masaki Kawanabe
44
Dominic Burrell
10
Te Rongo Kirkwood
46
Perran Costi
12
Richard Morrell
48
Matthew Curtis
14
Nick Mount
50
Dorde (George) Drobac
16
Kumiko Nakajima
52
Benjamin Edols and Kathy Elliott
18
Mandy Eilbeck
20
Mark Eliott
22
Nudibranch Art Glass: Laurie Young and Christian Arnold
54
Judi Elliott
24
Graham Orridge
56
Wendy Fairclough
26
Tom Rowney
58
Vicki Fanning
28
Fiona Ruttelle
60
Brenden Scott French
30
Benjamin Sewell
62
Keith Grinter
32
Suzannah Terauds
64
Marc Grunseit
34
Emma Varga
66
Tevita Havea
36
Lisa Walsh
68
Sue Hawker
38
Maureen Williams
70
Ede Horton
40
Finalists’ Biographies
72
Glossary of Glass Terms
82
The Judges
84
Ranamok 2009 Tour Dates
85
Acknowledgements
85
The Ranamok Glass Prize 2009 In 2000, my wife Deirdre assumed responsibility for managing the Ranamok Glass Prize. In this role, she has built and ‘polished’ the Prize into what it is today. The professional catalogue and web site that you see is to her credit, as are the protocols of organising and moving dozens of pieces of glass around the country year after year without incident (mostly), organising venues for the annual exhibitions and putting on multiple cocktail parties for over 400 people at a time. As an unpaid volunteer, Deirdre took on a massive job with Ranamok over the past 9 years and it’s a job that she has done with professionalism, tenacity and grace. All things come to an end. This year, Deirdre has decided to ‘retire’ as Ranamok’s Administrator to spend more time with her grandchildren, to reacquaint herself with her piano and to get her hands dirty regenerating a special piece of rainforest in Northern NSW. On behalf of the Ranamok board, I would like to thank Deirdre for taking on a hard job and doing it beautifully. The Prize would not be what it is today without her efforts and indeed, I think it is fair to say that the Ranamok Prize would probably not even exist today had she not volunteered to help us get through a rough patch back in 2000. Deirdre will be a tough act to follow, but we have a capable and safe pair of hands in the wings... Elizabeth MacDougall. Elizabeth certainly has the requisite skills and temperament (and DNA, for that matter)... she is our daughter. Elizabeth is assisted by her long-time friend, Jo Little, and through the transition, by Deirdre (who remains on the Ranamok board). As always, we thank the artists for their efforts. I think that this years' exhibition is subtly different (and better) than other, recent Ranamok shows. To me, a number of experienced artists seem to be pushing boundaries and emerging artists are coming up with some very interesting and surprising works. The current exhibition seems to me to have more of an enthusiastic edge than what we’ve seen in exhibitions over the past few years. To all of our artist friends, keep up the excellent work... we appreciate your ongoing support. Finally, in the face of the Global Financial Crisis, we have been strongly supported by our corporate sponsors. From my own experience, I know how difficult the commercial environment has been over the past year. So, to my business friends who continue to support Ranamok in these straitened times... we sincerely appreciate your help, it couldn’t happen without you. Andy Plummer
At a time of global turmoil on many levels, it is important to be able to appreciate and get pleasure from the beauty of the handmade object. The Ranamok Glass Prize reinforces these everlasting values. Thanks so much to all those who have made this possible. Our generous sponsors, volunteers in all capacities, judges, staff and most importantly all contributing finalists and non-finalists who submitted work and understand what the creative process means to themselves and others. Maureen Cahill Glass Artists’ Gallery Co-founder, Ranamok. 3
Introduction On the last day of June 2009, at the instigation of our daughter Ruth, my wife and I were in Canberra to view her current exhibition of work at the Canberra Glassworks. We were also privileged to be shown the Glassworks, housed in the heritage-listed Kingston Powerhouse building, by Board member David Williams. David told us that this was Canberras' oldest public building, opened in 1915 and operated as a powerhouse until 1957. Of rugged reinforced concrete over a steel frame, this is a very robust and invigorating environment for the conduct of working the equally robust material, glass. Viewing the hot glass area in the cathedral-like space which once housed the turbines, David pointed out they were working towards duplicating the two hot glass workshops. Adjacent, and at a different level and nearly as large as the old turbine hall, was the cold glass work area, which was packed with equipment. Surrounding both workshops was a large mezzanine viewing platform, open to the public, school groups and students. Even after this quick tour, it was clear that the Canberra Glassworks, built and funded by the ACT Government, could rightly claim to be a world-class facility and cultural centre for glass. My visit set me thinking in terms of how glass as an activity, leading to professional practice, comes about for the individual. From this perspective, I see the Canberra Glassworks as a reciprocating engine arising from the relationship between the activity itself and the viewer, comprising the audience and future practitioners. This of course highlights the importance of the mezzanine viewing platform. If you have ever watched a man shoeing a horse, the activity and relationship between man and beast is spellbinding. An internationally known video artist from New Zealand, Darcy Lange, recognised this viewer/practitioner relationship in
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the workplace, and is famous for videotaping workers in a Bradford knitting mill where the multiple yarns coming from a number of directions are guided into the machine by the hands of the operator. The choreography of these movements is mesmerising. Similarly, watching a team working hot glass, the careful co-ordination of movement between the players in relation to the state of the material can be fascinating and tense. Success or failure is dependent on everybody involved doing the right thing at the right time. I speak now from the experience of my own daughter. As an eighteen year old, she attended a summer school in New Zealand at Wanganui Polytechnic. She studied hot glass, which was run by a visiting artist, Dante Marioni. In a matter of days she came home and said, “Mum, I now know what I want to do, I want to be a glass worker.” She has been passionately and totally committed to glass ever since. I have witnessed that same passion and commitment in many people (not only in glass of course). Perhaps the most relevant to the topic at hand was when Maureen Cahill, fresh from Stourbridge, approached me for a job in the first years of Sydney College of the Arts, at the old Balmain site. After showing me an impressive collection of slides of her work, I was left to embrace the idea of starting a new department of glass with no money and no facilities or equipment. Reluctant to let Maureen go, I managed to scrape together a few part time hours and then showed her a shelter shed which we used for storing clay and some plaster casting and pointed out that was the best I could do for her. Maureen, being Maureen, never hesitated. The trail is a bit hazy from there but with her friend, ‘old man Pilkington’, she got moving and all sorts of machinery began arriving
on site and from time to time a truck would arrive with a load of glass. Within a year, I was being asked to open the inaugural Ausglass Conference and I was very conscious at the time that I was celebrating the pioneers who had done the hard yards for glass in Australia. About 1979, SCA was bequeathed a mobile trailer unit for hot glass. This unit had been trundled around NSW to various sites (I believe by Nick Mount, though there could have been others). By the time it came to us at SCA it was in disrepair; flat tyres, a bit rusty and a severely cracked furnace. However, for us it represented an opportunity for starting a hot glass program. Until then, we had only been able to manage cold glass and some hot slumping. Fortunately, Keith Rowe who was a keen student anxious to learn about hot glass, volunteered to get the unit in working order again and over many months laboured to that end. Once it was up and running, he had to learn to use it. I can’t remember how this was achieved except that it is etched in my memory as having been pretty hazardous. Finally, I was presented, with Keiths' compliments, six large stemmed glasses as a symbol that hot glass had finally arrived at Sydney College. I still have them, each with a great deal of individuality in shape but treasured nonetheless and I hope that Keith still has a warm feeling about them also. It was a great effort on his part. These small histories are grist to the broader picture of glass in Australia and New Zealand. Making studio glass is expensive in materials, technical resources, work facilities and fuel. It is very difficult for individuals to make a living and it is difficult for institutions to find the necessary ongoing funding and support systems. Successful marketing of the work is therefore essential. Emerging glass artists face these problems from day one and need to become as skilled in these issues as in the technical
processes of making. Otherwise there is no survival. Maureen Cahill recognised this need early and established the Glass Artists’ Gallery first in Paddington then later at Glebe in Sydney. SCA student involvement in both these galleries provided a valuable insight to the real world they were about to enter. 1995 should be seen as a gala year, for it was then that Maureen teamed up with Andy Plummer to found the Ranamok Prize. The Ranamok Prize has since provided a momentous boost of encouragement to artists, to the marketing of their work and towards public recognition of a very special and distinctive art form. Apart from the Prize itself, the fact that the exhibition continues to travel to major centres in Australia is a very positive outcome for the artists involved. In parallel, Maureen has continued to establish Australian and New Zealand glass on world markets and to attend major craft fairs and auctions in America, Britain and Asia on behalf of the Glass Artists' Gallery. Her efforts at the Glass Artists' Gallery continue to enhance the international recognition of excellence of work from both Australia and New Zealand, the reputations of emerging and established artists and the institutions which contributed to their training. For the 2009 Ranamok Prize, I congratulate Maureen Cahill and Andy Plummer for their long and fruitful association. To the artists submitting work for the Ranamok Prize, best wishes for success. Regardless of the outcome, your work is a valued contribution to the continued presence of this important event on our annual arts calendar. Jim Allen 2009 Founding Head Visual Arts Sydney College of the Arts Practising Artist 5
Kate Baker Untitled – Transgression Series Kiln formed, screen printed and hand carved glass 20 H x 80 W x 6 D cm
6
Surry Hills, NSW
This new body of work is primarily concerned with where the sublime and the ominous intersect. The content questions where the boundaries lie between beauty, danger, vulnerability and control. The tactile qualities of glass are combined with photo and print media to create works that talk about sensuality and fragility.
Photographer: Michael Bradfield
Emma Borland Wise Man Recycled cast glass 77 H x 36 W x 15 D cm
8
Nunawading, VIC
My work reflects my fascination with people and the subsequent search for meaning behind the inherent fear that precedes this fascination. I capture the feelings, emotional obstacles and experiences within life, and I then create sculptures to help heal the loneliness and indeed the sadness, which initiated these images.
Photographer: Andrew Barcham
Dominic Burrell Isobar Hand blown glass 9 H x 20 W x 18 D cm 8 H x 18 W x 18 D cm 7 H x 18 W x 18 D cm
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Wanganui, New Zealand
Sociology is a broad discipline in terms of both methodology and subject matter. Climatology is a broad discipline in terms of methodology and subject matter. Design is a broad discipline in terms of methodology and subject matter – Isobar.
Photographer: Ian Jones
Perran Costi Skyboxes 09 Sculpture, photography 16.5 H x 16.5 W x 12 D cm each
12
Darlington, NSW
I aim to capture moments of everyday life which are overlooked and yet profoundly beautiful. Each photo is separated into foreground, mid-ground and background, and printed onto three layers of glass using UV inks which recreate the properties of natural light. These layers form to re-create a three-dimensional scene.
Photographer: Perran Costi
Matthew Curtis Amber & Teal Span Mould blown and cold worked glass, metal base 167 H x 55 W x 12 D cm
Queanbeyan, NSW
The exquisite and intricate architecture of microscopic organic structures informs this body of work. In sculpting this form, the controlled yet loosely determined envelopes of air provide the internal structure. Whilst grinding the components, the thickness of the glass affords an interaction between the solid depths and delicate edges.
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Photographer: Rob Little
Dorde (George) Drobac
Nollamara, WA
Eternal Gardening Kiln fused and slumped Bullseye glass with bronze and patinised metal (blue-torch technique) 11 H x 77 W x 39 D cm
Synthesis of elements, colour range and functional meaning through geometric curves is deducted into association to emersion of oldest Hill above Surface and agelong efforts to protect, control and utilise essential, furious adversary – Fire. Transparent geometric array and natural lines allude to harmonic configuration of Symbiosis with Nature, and Eternal Gardening, either by Man or by Fire itself
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Photographer: Tim Lofthouse
Benjamin Edols and Kathy Elliott Capillary Leaf – Window Series Hot formed, carved and polished glass 20 H x 87 W x 32 D cm
18
Brookvale, NSW
In recent times we have taken most of our inspiration from the natural world; leaves, pods, seeds etc. This window series is a new passage within that and has come about through an exploration of a glass blowing technique exposed within the form of the reclining leaf.
Photographer: Greg Piper
Mandy Eilbeck Bric a Brac Cast glass 18 H x 9 W x 29 D cm
Curl Curl, NSW
Bric a Brac is a playful comment on humanities compulsion to collect and create objects. Encased within the glass are utilitarian objects found in a junkyard. They no longer serve a function they are valued for their beauty only. The question I keep asking myself is have I created more bric a brac? Or is it an object of enduring beauty? I guess that it is in the eye of the beholder.
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Photographer: Greg Piper
Mark Eliott Transcen-dance Flameworked glass 33 H x 33 W x 33 D cm
North Bondi, NSW
True to the spirit of improvisation, I transcended marine origins – taking flight with only the curliest notion of where I was going. Knocked from the sky, I hit the ground dancing – bearing no grudge but gifts of fractal fruit on tentacles. Through it all I retain the memory of water.
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Photographer: Richard Weinstein
Judi Elliott Enclosure – Wall Series Kiln formed glass 69 H x 69 W x 30 D cm
Wanniassa, ACT
Walls are welcoming, containing, inviting. They protect and provide calm and safety against the unknown. The importance of walls lies in the fact that they form a barrier to the outside, to the street. The street is aggressive, even hostile. The walls create silence and harmony. Quote: Luis Barragan, Architect. Mexico.
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Photographer: Rob Little
Wendy Fairclough Water Tower Series, II Hand blown glass, sandblasted, engraved and enamel paint 21 H x 66 W x 33 D cm
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Bridgewater, SA
Considering this countrys' unique relationship to water and drought, I am intrigued and somewhat fascinated by the ironic status of disused water towers in the Australian landscape.
Photographer: Grant Hancock
Vicki Fanning
Matakana, Warkworth, New Zealand
Diamond Flameworked glass
This work explores the correlation of glass and its various functions.
5 H x 70 W x 80 D cm
Comparisons are drawn from the patchwork/stained glass (diamond) pattern, to the protection and comfort that a blanket or window offers. Relationships are built and dismantled between practical and conceptual, between physical beliefs and idealistic notions.
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Photographer: Richard Smallfield
Brenden Scott French Predator – Soaked 2009 Blown and kiln formed glass
Adelaide, SA
I am fascinated by paradox and overwhelmed by beauty.
32 H x 70 W x 8 D cm
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Photographer: Grant Hancock
Keith Grinter Watch Tower Painted and blown glass 27 H x 19 W x 19 D cm
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Whanganui, New Zealand
The Watch Tower is one of a series of painted and blown glass works based on my Masters work, which involves walking and drawing in the street. This one includes the tower and grandstand of the Whanganui racecourse.
Photographer: Keith Grinter
Marc Grunseit Capricornia Kiln formed, cold worked glass 31 H x 19 W x 4 D cm
Alexandria, NSW
My work has a number of features for which I strive, regardless of the design, size or application. Painterly in effect, all my works are made entirely of glass with no paints, stains or enamels used. The design elements are complex and time consuming to create, but from their complexity I attempt to produce inviting images which allow endless visits. Each time the eye can commence a journey from a different point. Neither I as the maker nor the viewer need ever be bored. This piece reflects 25 years of evolution of technique and design. It demonstrates the eclectic nature of my art, employing complex visual vocabulary to express a peaceful and contemplative painting in glass. I do not proscribe the meaning of my work, but the title tends to provide some clues.
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Photographer: Marc Grunseit
Tevita Havea Common Ground Blown, cold worked, woven
Strathfield, NSW
The body is an extension of the ground that we walk on.
28 H x 53 W x 30 D cm
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Photographer: Tevita Havea
Sue Hawker Connexions: Ringo P창te de verre 33 H x 20 W x 20 D cm
Connexions: Ginga P창te de verre 45 H x 20 W x 20 D cm
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Kerikeri, New Zealand
Slightly crusty but still swinging 60s male seeks fiery chili pepper. Ref: Ran 09
Hot, sugar coated babe seeks cool, classy male. Must have s.o.h. Ref: Ran 09
Photographer: Ron Hawker
Ede Horton
Camberwell, VIC
Chinese Whispers Kiln cast glass 10 H x 12 W x 16 D cm each
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Photographer: David McArthur
Nejat Kavvas Joie de Vivre – Fiordland Pâte de Crystal 70 H x 16.5 W x 5 D cm
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Auckland, New Zealand
Joie de Vivre – Fiordland is the expression of my joy of living in New Zealand. Lush, dark and secretive native bush; crystal clear water trickling over rocks covered with emerald green moss. Secretive and tranquil Fiordland, still as it was created millions of years ago.
Photographer: Saıt Akkırman
Masaki Kawanabe Cocoon Blown and cold worked glass 15 H x 95 W x 16 D cm
North Manly, NSW
Cocoon means a new lease on life. In the Cocoon, I might long for a new world. On the other hand, I might be worried about it. I just wait with hopes and fears in my mind. It must be a time filled with tensions.
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Photographer: Robert Wynne
Te Rongo Kirkwood E Oho-Kua Awatea Fused and cold worked glass 56 H x 97 W x 0.9 D cm
Auckland, New Zealand
Awake – for a new day is born. The bird has always held a special significance for the human spirit. For me their ethereal nature conveys a feeling of transcendence. This Kahu (hawk), is a symbolic reference to the awakening of the collective human consciousness, to defy the gravitational pull of materiality, rise above our identification with form and come to know our true inner essence.
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Photographer: Howard Williams
Richard Morrell Fractured Sun Spin-cast glass 16 H x 34 W x 34 D cm
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Castlemaine, VIC
The bowl is my chosen vehicle of expression. Fractured Sun is a reminder of the impermanence of all things.
Photographer: Richard Morrell
Nick Mount SB#010609/1/2 Granulare murrini, cut, polished, assembled 16 H x 40 W x 30 D cm
Leabrook, SA
The plumb bob is a very satisfying, engineered object that has significance to me as the essence of tools and a symbol of the value of work. These pieces have been blown in granulare murrini and combined in composition with other blown and cold worked glass components.
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Photographer: Grant Hancock
Kumiko Nakajima Jelly Block Hot formed, cold worked glass 10 H x 9 W x 4.5 D cm 8.5 H x 12 W x 4 D cm 10.5 H x 10 W x 5.5 D cm
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Athelstone, SA
I like the winter beach; it is a quiet place to hear only ripples. The sea and the sunset paint beautiful colours; the horizon draws a beautiful line. As people are captivated by such a scene; I become the explorer of the straight line.
Photographer: Kumiko Nakajima
Nudibranch Art Glass Belladonna and the Mandragona Cire perdue and flamework 25 H x 36 W x 36 D cm Laurie Young and Christian Arnold
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North Fitzroy, VIC
Based on medieval botanical, medical and alchemical imagery, we have attempted to recapture a kind of mystery which is almost lost to this modern world of science. In our quest for knowledge we imagine that we know far more than we actually do and often forget to look at the world with the kind of child-like wonder a cabinet of curiosities can evoke.
Photographer: Jeremy Dillon
Graham Orridge Drift Cast, flaked 25 H x 105 W x 60 D cm
56
Balaclava, VIC
Flaking cast furnace glass, I sought to create a dialogue about the nature of technology, and how the constructed and natural worlds have drifted out of balance. I desire to amplify the aesthetic beauty of flaking and, historically it’s harmony between nature, culture and artefact.
Photographer: Andrew Barcham
Tom Rowney Tempest Blown glass, cane, merletto 12 H x 34 W x 34 D cm
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Ainslie, ACT
Tempest is a representation of a turbulent storm. A storm can seem so solid, whilst up-close is a combination of strong but ultimately insubstantial elements. Through the use of multilayered canes it too becomes obscure and dense, yet still light and delicate, continually drawing the viewer ever closer.
Photographer: Stuart Hay
Fiona Ruttelle Group of 3 – Clear/White Laminated glass 1020 H x 5 W x 5 D cm
Caulfield East, VIC
I want to make beautiful work, if it’s only for a moment I want to elicit – in a technical, secular, LED infused world – a double take, an intake of breath, a modern equivalent of ecclesiastical reverence once held for stained glass. On a technical level, I continue to create 3D work by predominantly working in 2D.
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Photographer: Andrew Barcham
Benjamin Sewell
Stanwell Park, NSW
Local Family on Distant Bank. Millstream, North Western Australia 1978 Hand blown glass, white overlay on black, wheel cut
My work engages with elements of memory, landscape and the intellect, investigating notions of a sense of place between the individual and the landscape.
32 H x 34 W x 11.5 D cm
The objects I create draw on the essence of what the landscape represents, describing that experience through the emotive qualities of space, light and texture. I reference these elements using intuitive mark making to articulate qualities that have a resonance of the land. In the first place I establish a solid foundation in the strength of the form. I build upon this as I develop the surface with graphic qualities. Either side of each piece is handworked to create a sense of unity among the various parts and to bring out the natural interplay of the surface and light as intrinsic virtues of glass.
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Photographer: Tim Robinson
Suzannah Terauds
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Domestic Bliss Blown glass with cast glass pegs
“Throw off your worries when you throw off your clothes at night.”
30 H x 46 W x 30 D cm
Napoleon Bonaparte (1769-1821)
Melbourne, VIC
Photographer: Andrew Barcham
Emma Varga
Collaroy, NSW
Vertigo #1 (Totally Under Control) Fused, cast and polished glass
Controlling the creative process can sometimes cause a vertigo.
83 H x 9.5 W x 8 D cm
I’m challenging myself to the limit of my PATIENCE – first to cut 284 layers from thin glass sheets, then to assemble a mosaic of tiny glass elements and fine frits on EACH sheet, (each sheet is slightly different from the previous one), then NOT to mix up these 284 layers, because they must be fused together in particular order to form several interwoven spirals and to create a sense of movement inside a glass obelisk. Well, that causes dizziness and…VERTIGO. To add more challenge and increase vertigo, I decided to make the shape wavy. (P.S. If you do not feel vertigo after 2 minutes, please follow ascending yellow dots.)
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Photographer: Emma Varga
Lisa Walsh Across The Lines Hot moulded glass, paint and wire 90 H x 170 W x 5 D cm
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Waverley, South Taranaki, New Zealand
My work is inspired by the history of our land and people. It is a reflection of my thoughts on how we have evolved as a country. Retelling the stories of our heritage and setting them into a modern environment is what motivates me in my pursuit of glass works.
Photographer: Mark Bellringer
Maureen Williams Within & Without 16 Blown glass and paint 24 H x 17.5 W x 12 D cm
70
St Kilda, VIC
In this work, personal narratives and views are expressed using a three-dimensional canvas to depict altered views. The painting reflects my abstract notion of reality as imagery. The imagery has been concerned with the narrative and relates to relationships. Imaginary views are linked with real views and altered.
Photographer: David McArthur
Finalists’ Biographies
A
B
North Fitzroy, VIC
Surry Hills, NSW
Christian Arnold
Kate Baker
Page 54
Page 6
Born 30 January 1969 Heidelberg, Baden-Württemberg, Germany
Born 20 March 1973 Canberra, Australian Capital Territory, Australia
Education 2001- 2002 Master of Arts (Fine Arts), Royal Melbourne Institute of Technology, Melbourne VIC
Education 1999 Bachelor of Visual Arts (Glass) with First Class Honours, Institute of the Arts, Australian National University, Canberra ACT
2000- 2001 Bachelor of Arts (Fine Arts), Royal Melbourne Institute of Technology, Melbourne VIC 1997- 2000 Fine Art, Monash University, Melbourne VIC 1991- 1993 Apprenticeship Scientific Glassblower, ASAG Rainer Arnold, Melbourne VIC 1990- 1991 Photographic Studies, ACPAC, Melbourne VIC
1996 International Glass Centre, Glass Techniques and Technology, Dudley College, West Midlands UK 1990 Prahran College, Foundation Year Art, Sculpture, Melbourne VIC Last Group Exhibition 2009 T he Melbourne Art Fair, Carlton Exhibition Centre, Melbourne VIC Awards 2006 The Andor Meszaros Prize, The Association of Sculptures of Victoria, Melbourne VIC
Last Solo Exhibition 2009 Transgression – New Works in Glass by Kate Baker, Gaffa Gallery, Sydney NSW
2006 Kirra Prize for Excellence, Melbourne VIC
Last Group Exhibition 2008 Ranamok Glass Prize, Australia
2005 Peoples Choice Award, AusGlass Members Show, Melbourne VIC
Public/Private Collections Private collections in Australia, USA and Europe
2005 Most Outstanding Student Award, Axcess Glass, Melbourne VIC
2006 Cube 37 Gallery Award, Melbourne VIC
2005 Most Outstanding Student Award, Northcote Pottery, Brunswick East VIC
1989- 1990 Archaeology, Linguistics, Art Theory, La Trobe University, Melbourne VIC
Awards 2008 Finalist, Ranamok Glass Prize, Australia
Last Group Exhibition 2009 W inter Lights, Kirra Gallery, Melbourne VIC
2007 International Exhibition of Glass Kanazawa, Japan
Dominic Burrell
1998 Thomas Foundation Research Grant
Page 10
Public/Private Collections Kobe Lampwork Museum, Kobe Japan Various private collections in Australia, Japan, Singapore, Hong Kong, Germany, USA, Argentina, Brunei and Saudi Arabia Awards 2007 Finalist, Ranamok Glass Prize, Australia
2007 Finalist, Ranamok Glass Prize, Australia
2004 Most Outstanding Student, Blackwood Crystal Award, Melbourne VIC
Wanganui, New Zealand
Emma Borland
Born 4 May 1972 Nelson, Tasman, New Zealand
Page 8
Education 2001-2003 Diploma Glass Design, Universal College of Technology, Wanganui NZ
Nunawading, VIC
Born 4 January 1968 Melbourne, Victoria, Australia Education 2009 Master of Fine Art, Monash University, Melbourne VIC 2005 Glass Blowing Workshop, Crafts Council, Bristol UK
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2003 Bachelor Of Fine Art, Monash University, Melbourne VIC
Last Solo Exhibition 2009 Dominic Burrell, Form Gallery, Christchurch Arts Gallery, Christchurch NZ Last Group Exhibition 2008- 2009 Summer Show, Milford Gallery, Queenstown NZ
Public/Private Collections The New Dowse Gallery, Lower Hutt NZ Sarjeant Art Gallery, Wanganui NZ Private Collections in Europe, Asia, Australia, North America, NZ Dr Seddon Bennington, Museum Of New Zealand, Te Papa Tongarewa, Wellington NZ
Awards 2008 Basil and Muriel Hooper Scholarship, Art Gallery of NSW, Sydney NSW 2008 Finalist, Best New Artist, Sydney Music Arts and Culture Awards, Sydney NSW 2008 Peoples Choice, BSG Picture This Competition, Fitzroy VIC
Sir Elton John, Atlanta GA USA
2008 First Place, BSG Small Works, Fitzroy VIC
Awards 2008 1st Place Members Show NZSAG Glass Conference, Wanganui NZ
2008 ARC GAS Grant Award, Paddington NSW
2006 Merit Award, Arts Review Sarjeant Art Gallery, Wanganui NZ 2004 Finalist, Ranamok Glass Prize, Australia 2004 Finalist, Norsewear Art Award, Hastings NZ 2002 2nd Place Student Award, NZSAG Conference, Wanganui NZ
C
Perran Costi
2007 Exchange and Grant, Porosity Studio Milan, Politecnico University, Milan Italy
National Art Glass Collection, Wagga Wagga Art Gallery, Wagga Wagga NSW Mobile City Art Glass Museum Collection, USA Ernsting Stifting, Glass Museum, Coesfelfd Germany De Young Museum Collection, CA USA Palm Springs Museum, CA USA Private Collection of Elton John Societe General, Singapore Awards 2006 Finalist, Ranamok Glass Prize, Australia
2007 Finalist, Golden Ticket Art Prize, Paddington NSW
D
2007 Finalist, Australian Decorative Fine Arts Society, Paddington NSW
Nollamara, WA
2007 Award, Photography and the Built Environment Prize, Kensington NSW 2007 Finalist, Kodak Great Escape Photo Competition, Homebush NSW
Dorde (George) Drobac Page 16 Born 16 August 1964 Blace, Serbia, Yugoslavia
Born 21 April 1976 Sydney, New South Wales, Australia
Matthew Curtis
Education 1989 Graphic Art Design for newspapers and publications (Technical Editing), Yugoslav Institute of Journalism, Belgrade Yugoslavia
Page 14
Public/Private Collections Personal collections in Serbia and Slovenia
Education 2006- present Bachelor of Fine Arts, College of Fine Arts, University of New South Wales, Sydney NSW
Born 17 August 1964 Luton, Bedfordshire, United Kingdom
E
Last Solo Exhibition 2008 M atthew Curtis, Thomas R Riley Gallery, Cleveland OH USA
Brookvale, NSW
Darlington, NSW
Page 12
Last Solo Exhibition 2009 L oss, Medium Rare Gallery, Redfern NSW Last Group Exhibition 2009 Still...Life, The Museum of Contemporary Art, Sydney NSW Public/Private Collections Numerous private collections across Australia
2006 ARC GAS Grant Award, Paddington NSW
Queanbeyan, NSW
Last Group Exhibition 2009 W heaton Glass Weekend 2009, Creative Glass Center of America, New Jersey NY USA Public/Private Collections Art Trust Australia, National Gallery of Australia, Canberra ACT
Benjamin Edols Page 18 Born 19 June 1967 Sydney, New South Wales, Australia Education 1992 Graduate Diploma, Canberra School of Art, Australian National University, Canberra ACT 73
Finalists’ Biographies (continued) 1991 Bachelor of Arts (Visual) Sydney College of the Arts, Sydney University, Sydney NSW
Last Solo Exhibition 2005 D esigner Reflection, Orson and Blake, Surry Hills NSW
Last Solo Exhibition 2009 L ight Marks, William Traver Gallery, Seattle WA USA
Last Group Exhibition 2006 Encore, Glass Artist Gallery, Sydney NSW
Last Group Exhibition 2009 V ision Realized, Morgan Contemporary Glass Gallery, Pittsburgh PA USA
Public/Private Collections Private collections in Sydney NSW
Public/Private Collections Powerhouse Museum, Sydney NSW
Awards 2005 Finalist, Ranamok Glass Prize, Australia
Auckland Art Gallery and Museum, Auckland NZ
Mark Eliott
Corning Museum of Glass, Corning NY USA
Page 22
Victoria and Albert Museum, London UK
Born 9 May 1957 Wellington, New Zealand
Awards 1998 Recipient, RFC Glass Prize, Australia
Mandy Eilbeck Curl Curl, NSW
Page 20 Born 19 May 1974 Sydney, New South Wales, Australia
North Bondi, NSW
Education 2007 Master of Studio Art Degree, Sydney College of the Arts, Sydney NSW 1990 Associate Diploma Jazz Studies (Saxophone), Sydney Conservatorium, Sydney NSW Last Solo Exhibition 2002 F lying Entities, Private Venue, Petitingit, Bali Indonesia
Awards 2005 Finalist, Ranamok Glass Prize, Australia 1991 Jazz Action Society Composition Award, Sydney NSW
Judi Elliott Wanniassa, ACT
Page 24 Born 29 September 1934 Armidale, New South Wales, Australia Education 1988 Pilchuck International Glass School, Seattle WA USA 1985 Associate Diploma Glass, Canberra School of Art, Canberra ACT 1981 Post Graduate Diploma, Alex Mackie CAE, Sydney NSW 1977 International Pottery School, Taggs Yard London UK Last Solo Exhibition 2007 Sabbia Gallery, Sydney NSW
Last Group Exhibition 2009 A coustoopticaldinoratorio, Delmar Gallery, Sydney NSW
Last Group Exhibition 2007 M organ Glass Gallery, Pittsburg USA at Glass Weekend, Wheaton Art Center, Millville NJ USA
Public/Private Collections Barry Willoughby, Sydney NSW
Public/Private Collections Australian National Gallery, Canberra ACT
2005 Harumi Yukutake Glass Workshop, Adelaide SA
Toh Puan Kuan Mahani Idris Daim, Kuala Lumpur Malaysia
Corning Glass Museum, New York NY USA
2004 Apprentice to Emma Camden and David Murray, Wanganui NZ
Geoffrey Strutton, Brisbane QLD Solomon Trust, Auckland NZ
National Art Glass Collection, Wagga Wagga Art Gallery, Wagga Wagga NSW
Elaine Pounder-Smith, Melbourne VIC
Kunstmuseum, Dusseldorf Germany
Nora Shreiber, Sydney NSW
Doron Livnat Collection, The Netherlands
Andy and Deirdre Plummer, Sydney NSW
Awards 2007 Finalist, Ranamok Glass Prize, Australia
Education 2007 Richard Whiteley Glass Casting Workshop, Canberra ACT 2005 Bachelor of Visual Arts, Sydney College of the Arts, Sydney University, Sydney NSW
Northstar Glass, Tigard OR USA 74
National Art Glass Collection, Wagga Wagga Art Gallery, Wagga Wagga NSW
Bullseye Glass Collection, Portland OR USA
2000 Visual Arts Fellowship, Arts ACT, Canberra ACT 1988 Excellence Prize, International Exhibition of Glass, Kanazawa Japan
Kathy Elliott Brookvale, NSW
Page 18 Born 3 July 1964 Sydney, New South Wales, Australia Education 1992 Bachelor of Arts (Visual) Canberra School of Art, Australian National University, Canberra ACT Last Solo Exhibition 2009 L ight Marks, William Traver Gallery, Seattle WA USA
Education 2000 Bachelor of Applied Arts, Glass Major, South Australian School of Art, University of South Australia, Adelaide SA 1998 Graduate Diploma in Education and Training of Adults, University of South Australia, Adelaide SA 1991 Bachelor of Visual Art, Sculpture and Printmaking Majors, South Australian School of Art, University of South Australia, Adelaide SA Last Group Exhibition 2009 S outhern Lights, Kirra Galleries Federation Square, Melbourne VIC Public/Private Collections Museum Of New Zealand, Te Papa Tongarewa, Wellington NZ Australian National Art Glass Collection
Last Group Exhibition 2009 V ision Realized, Morgan Contemporary Glass Gallery, Pittsburgh PA USA
National Art Glass Collection, Wagga Wagga Art Gallery, Wagga Wagga NSW
Public/Private Collections Powerhouse Museum, Sydney NSW
Various private collections in NZ and Australia
Auckland Art Gallery and Museum, Auckland NZ
Awards 2009 Development of New Work, Arts SA, Adelaide SA
Corning Museum of Glass, Corning NY USA Victoria and Albert Museum, London UK Awards 1998 Recipient, RFC Glass Prize, Australia
F
Wendy Fairclough Bridgewater, SA
Page 26 Born 28 July 1958 Wanganui, New Zealand
Ministry of Foreign Affairs, NZ
2007 Development of New Work, Australia Council 2005 Development of New Work, Arts SA, Adelaide SA 2004 Development of New Work, Arts SA, Adelaide SA 2002 Nominee, Corning Glass Award, Pilchuck Glass School, WA USA 2001 General Scholarship, Pilchuck Glass School, Seattle WA USA 2001 Cultural Trust Grant, Ian Potter Foundation, Melbourne VIC
Vicki Fanning
Matakana, Warkworth, New Zealand
Page 28 Born 23 November 1970 Wellington, North Island, New Zealand Education 2001- 2003 Wanganui Polytechnic, Universal College of Learning, Glass Diploma, Design and Production, Wanganui NZ Last Solo Exhibition 2008 C rystal, Masterworks Gallery, Auckland NZ Last Group Exhibition 2009 A uckland Art Fair, Masterworks Gallery, Auckland NZ Awards 2008 Finalist, Ranamok Glass Prize, Australia 2007 Finalist, Anthony Harper Contemporary Art Award, COCA Gallery, Christchurch NZ 2007 Finalist, Ranamok Glass Prize, Australia 2006 Luminous Glass, Mazda Art Awards, Auckland NZ 2004 Finalist, Norsewear Art Award, Napier NZ
Brenden Scott French Adelaide, SA
Page 30 Born 4 June 1969 Toowoomba, Queensland, Australia Education 2003 Bachelor of Arts (Visual) Honors, Canberra School of Art Glass Workshop, Australian National University, Canberra ACT
75
Finalists’ Biographies (continued) 1999 Associate of Design, Jamfactory Contemporary Craft and Design, Adelaide SA 1997 Bachelor of Visual Arts Glass, Sydney College of the Arts, Sydney NSW Last Solo Exhibition 2007 A rtefact of the Accident – Predator, Canberra Glassworks, Kingston ACT Last Group Exhibition 2009 L ook Forward, Traver Gallery, Tacoma WA USA
1996 Bachelor of Business Studies, Massey University, NZ 1983 National Diploma in Horticulture, Royal New Zealand Institute of Horticulture, Canterbury NZ Last Solo Exhibition 2009 T he Shed Project: Iteration 3, at Community Arts Centre, Whanganui NZ
Public/Private Collections Private Collections in Australia, UK and USA
Last Group Exhibition 2005 G oing Solo 21, New Zealand Academy of Fine Arts, Wellington NZ
Northlands Creative Glass Collection, Scotland UK
Public/Private Collections Private Collection of Barry Pilcher
Significant Works, Canberra Glassworks, Canberra ACT
Awards 2008 Anne Robinson Glass Prize, New Zealand Society of Artist in Glass, Whanganui NZ
Awards 2009 ArtsSA Independent Makers and Presenters Professional, Development Assistance, SA 2008 Finalist, Ranamok Glass Prize, Australia 2007 The Stephen Procter Fellowship, Glassworkshop Canberra School of Art, Australian National University, Canberra ACT 2007 Northlands Creative Glass Center, Artist in Residence, Scotland UK
2007 Doyle Glass Prize, Whanganui NZ
Marc Grunseit Alexandria, NSW
Page 34 Born 2 August 1952 Sydney, New South Wales, Australia
Allergan, Sydney NSW Barclays Bank Corporate, Sydney NSW Caltex/Ampol, Sydney NSW Canberra Times, Canberra ACT Clifford Collection, Sydney NSW Glasmuseet Ebeltoft, Ebeltoft Denmark Queensland Art Gallery, Brisbane QLD Schwarzenbach Collection, Sydney NSW Shell Oil, Dubai UAE Smith Museum of Stained Glass, Chicago IL USA Wilhelm Derix Gallery Collection, Taunusstein-Wehen Germany Awards 1999 Finalist, Ranamok Glass Prize, Australia
H
Tevita Havea Strathfield, NSW
Page 36 Born 13 September 1969 Nuku’alofa, Tonga Education 2005 Bachelor of Arts (Visual), Canberra School of Art, Australian National University, Canberra ACT
G
Education 1977 Bachelor of Medicine, Bachelor of Surgery, University of New South Wales, Sydney NSW
Whanganui, New Zealand
Last Solo Exhibition 2004 M arc Grunseit, The Majlis Gallery, Dubai, UAE
Public/Private Collections Lehigh University Art Galleries, PA USA
Last Group Exhibition 2008 R emembering Rain, National Art Glass Collection, Wagga Wagga Art Gallery, Wagga Wagga NSW
Ernsting Stiftung, Glass Museum, Coesfeld Lette Germany
Keith Grinter Page 32
Born 7 September 1952 Ipswich, Suffolk, United Kingdom Education 2009 – present Master of Art and Design, Auckland University of Technology, Auckland NZ 76
2007 Bachelor of Fine Arts, Universal College of Learning, Whanganui NZ
Public/Private Collections ABN Amro Bank, Dubai UAE
Last Group Exhibition 2009 C ontemporary Primitive, Bega Regional Gallery, Bega NSW
Corning Museum of Glass, New York NY USA
Victoria and Albert Museum, London UK Awards 2009 New Talent Award, Urban Glass, New York NY USA
2006 New Work Grant, Australian Council for the Arts 2006 Special Commendation, New Design, Object Gallery, Sydney NSW 2005 Peter and Lena Karmel Award, Canberra ACT 2005 The Molonglo Group Award, Canberra ACT
Sue Hawker
1993- 1998 Kiln forming workshops with D Reekie, K Ogita, A Robinson, J Rybach and Tessa Clegg
Education 2009 Zircar and Sandcasting Course, Pilchuck Glass School, Seattle WA USA
1983- 1984 Architectural glass design workshops with L Schaffrath, J Shreiter, J Poensgen and P Marioni
2009 Glass Ladle Casting Course, California Polytechnic University San Louise Obispo, San Louise Obispo CA USA
Last Solo Exhibition 2004 S oft Power, Span Galleries, Melbourne VIC
2008 Glass Kilncast覺ng Course, Artstat覺on, Auckland NZ
Page 38
Last Group Exhibition 2009 A nimal Farm, Brenda May Gallery, Sydney NSW
Born 3 August 1948 Christchurch, New Zealand
Public/Private Collections Parliament House, Canberra ACT
Education Selected papers from Bachelor of Applied Visual Arts, NorthTec, Kerikeri NZ
Nishida Museum, Toyama Japan
Last Solo Exhibition 2008 I Am Pakeha, Milford Gallery, Dunedin NZ
National Art Glass Collection, Wagga Wagga Art Gallery, Wagga Wagga NSW
Kerikeri, New Zealand
Last Group Exhibition 2009 M atariki, Gravel Gallery, Kerikeri NZ Awards 2009 Finalist, Molly Morpeth Canaday Glass Awards, Whakatane NZ 2008 Finalist, Bombay Sapphire Collection, NZ 2008 Finalist, Molly Morpeth Canaday Glass Awards, Whakatane NZ
Ede Horton Camberwell, VIC
Page 40 Born 9 December 1952 Sydney, New South Wales, Australia Education 1998- 2002 Masters of Philosophy (Visual Arts), National Institute of the Arts, Australian National University, Canberra ACT
The Jewish Museum of Australia, Melbourne VIC
1976 Bachelor of Pharmacy, Marmara University, Istanbul Turkey
Masaki Kawanabe North Manly, NSW
Page 44 Born 5 October 1971 Sano, Tochigi, Japan Education 1997 Art and Design, MEISEI University, Tokyo Japan
Queensland Contemporary Art Gallery, Brisbane QLD
Last Solo Exhibition 2003 Gallery Mominoki, Tochigi Japan
Glasmuseet Ebeltoft, Ebeltoft Denmark
Last Group Exhibition 2007 S huki-Ten, Nihon Gallery, New York NY USA
University of South Australia, Adelaide SA Footscray City Council, Footscray VIC Private Collections in Australia, USA and Europe Awards 2003 Judith Altman Award, Temple Judea Museum, Philadelphia PA USA 1989 Box Hill Acquisition Award, VIC 1983 Australia Council Grant 1981 Australia Council Exhibition Grant
K
Nejat Kavvas
Auckland, New Zealand
Page 42 Born 18 April 1947 Mardin, Turkey
Public/Private Collections Kirara Glass Museum, Yamaguchi Japan Kanaz Forest of Creation, Fukui Japan Toyama City Plaza Gallery, Toyama Japan Awards 2009 Grand Prix, Sanyo-Onoda Contemporary Glass Art Exhibition, Yamaguchi Japan 2008 Honorable Mention, Contemporary Glass Triennial, Toyama Japan 2006 Honorable Mention, Tochigi Art Festival, Tochigi Japan 2005 Honorable Mention, Kawasaki Contemporary Glass Art Exhibition, Kanagawa Japan 77
Finalists’ Biographies (continued) 2005 Excellence Prize, Kanazawa Wan and One Exhibition, Ishikawa Japan 2004 Judged Appropriate, Sake Cup Exhibition, Kanaz Forest of Creation, Fukui Japan 2004 Shirayuki Award, IATAMI International Craft Exhibition, Osaka Japan 2004 Semi Grandprix, Glass Craft Triennale 2004, Osaka Japan 2004 Excellence Prize, Contemporary Glass Art Exhibition in Onoda, Yamaguchi Japan 2003 Honorable Mention, Fukui Art Exhibition, Fukui Japan
Te Rongo Kirkwood Auckland, New Zealand
Page 46 Born 14 August 1973 Gisborne, North Island, New Zealand
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2008 2nd Prize and People’s Choice, The Royal Easter Show Glass Art Awards, Auckland NZ
M
1993 Development Award, Australia Council 1991 Shared 1st prize, Ausglass Exhibition, Sydney NSW 1987 Development Award, Australia Council
Richard Morrell
1985 Prizewinner, Gas and Fuel show, Melbourne VIC
Page 48
Nick Mount
Castlemaine, VIC
Born 11 December 1953 London, United Kingdom
Leabrook, SA
Page 50
Education 1999 Master of Arts, Art and Design, Monash University, Melbourne VIC
Born 18 August 1952 Adelaide, South Australia, Australia
1979 Bachelor of Arts with Honours, Stourbridge School of Art, West Midlands UK
Education 1974 Non Diploma Course in Visual Arts, Gippsland Institute of Advanced Education, Gippsland VIC
1976 Foundation Course, West Sussex School of Design, West Sussex UK Last Solo Exhibition 2008 Kirra Gallery, Melbourne VIC
Education 2009 Glass Master Class, Fusing and Casting, Emma Varga, Wanganui NZ
Last Group Exhibition 2009 Ausglass Members Show
2007 Glass Fusing and Slumping Workshop, Claudia Borella, Wanganui NZ
Public/Private Collections Museum of Art and Craft, Hamburg Germany
2004 Post Graduate Qualification, Human Resource Management, De Montfort University, Leicester UK
Glasmuseet Ebeltoft, Ebeltoft Denmark
Last Group Exhibition 2009 Toi Iho Matariki Exhibition, Museum Of New Zealand, Te Papa Tongarewa, Wellington NZ
1971 South Australian School of Art, Adelaide SA Last Solo Exhibition 2009 N ick Mount, Kirra Galleries, Federation Square, Melbourne VIC Last Group Exhibition 2009 L ooking Forward, Traver Galleries, Tacoma WA USA
Toho Corp. Collection, Japan
Public/Private Collections National Gallery of Victoria, Melbourne VIC
Powerhouse Museum, Sydney NSW
National Gallery of Australia, Canberra ACT
National Gallery of Victoria, Melbourne VIC
Art Gallery of South Australia, Adelaide SA
Art Gallery of Western Australia, Perth WA
Geelong Gallery, Geelong VIC
Queensland Art Gallery, Brisbane QLD
Queensland Art Gallery, Brisbane QLD
Public/Private Collections Private collections in NZ, England and USA
National Art Glass Collection, Wagga Wagga Art Gallery, Wagga Wagga NSW
Museum of Contemporary Glass Art, Toyama City Japan
Dan Klein and Alan J. Poole, London UK
Awards 2009 1st Prize, The Royal Easter Show Glass Art Awards, Auckland NZ
Awards 2000 Peoples Choice Award, RFC Glass Prize, Sydney NSW
National Art Glass Collection, Wagga Wagga Art Gallery, Wagga Wagga NSW
2008 Merit Award, Cavalier Bremworth Luminous, NZ Art of Glass Awards, Auckland NZ
1995- 97 Graduate Scholarship Award, Monash University, Melbourne VIC
Ararat Regional Art Gallery, Ararat VIC The Gordon Institute Collection, Geelong VIC Sale Regional Art Gallery, Sale VIC
Latrobe Valley Regional Art Gallery, Morwell VIC State Gallery of Western Australia, Perth WA Art Bank, Sydney NSW The Power House Museum, Sydney NSW The New Federal Parliament House, Canberra ACT State Craft Collection, Melbourne VIC The Glasmuseum, Ebeltoft Denmark Awards 2009 Finalist, Tom Malone Prize, Art Gallery of Western Australia, Perth WA 2004 Finalist, Ranamok Glass Prize, Australia 2003 Recipient, Tom Malone Prize, Art Gallery of Western Australia, Perth WA 2002 Recipient, South Australia’s Living Artist’s Week monograph, initiated by the SALA Week committee, published by Wakefield Press, with the assistance of Arts South Australia, SA 1999 Fellowship, Australia Council for the Arts 1996 Recipient, Gold Medal, Barvarian State Prize, Germany
N
Kumiko Nakajima Athelstone, SA
Page 52 Born 26 November 1980 Kitayusyu, Fukuoka, Japan
Last Solo Exhibition 2009 A fter the Rain, JamFactory, Adelaide SA Last Group Exhibition 2009 J amFactory Glass Studio Exhibition, JamFactory, Adelaide SA Awards 2008 Finalist, The Waterhouse Natural History Art Prize 2008 for Sculpture and Objects, Adelaide SA 2008 Finalist, Beer Mug Rankai 7, Japan 2006 Finalist, Beer Mug Rankai 6, Japan
O
Graham Orridge
Last Solo Exhibition 2005 R ecent Works by Tom Rowney, Solo Show, Kamberra Wine Centre, Canberra ACT Last Group Exhibition 2008 Kirra Gallery, Melbourne VIC Public/Private Collections Powerhouse Museum, Ultimo NSW Sandy Benjamin, Private Collection, Melbourne VIC Awards 2004 New Work Grant, Australia Council
Balaclava, VIC
2004 Finalist, Ranamok Glass Prize, Australia
Page 56
2002 Scholarship, Pilchuck Glass School, Seattle WA USA
Born 8 February 1969 Bell Bay, Tasmania, Australia Education 2007 Masters of Fine Art, Monash, Caulfield VIC
Fiona Ruttelle Caulfield East, VIC
Page 60
Last Solo Exhibition 2007 G lass a Manifestation of Light, Greenhouse Gallery, Monash, Melbourne VIC
Born 16 August 1968 Melbourne, Victoria, Australia
Last Group Exhibition 2009 E ncore 09, Glass Artists Gallery, Sydney NSW
Education 2010 Completing Masters Degree in Fine Arts, Monash University, Melbourne VIC
Awards 2007 Finalist, Ranamok Glass Prize, Australia
2003 Bachelor of Applied Arts with First Class Honours, Monash University, Melbourne VIC
2002 Pilchuck Scholarship, Stanwood WA USA
Education 2008 Design Associate, JamFactory, Adelaide SA
R
2004 Glass Blowing Course, Ezra Glass Studio, Fukui Japan
Ainslie, ACT
2003 Bachelor of Art Planning, Osaka University of Arts, Osaka Japan
Education 1995 Bachelor of Arts (Visual), Canberra School of Art, Australian National University, Canberra ACT
Tom Rowney Page 58 Born 8 July 1971 Adelaide, South Australia, Australia
Last Group Exhibition 2008 MM08, Kirra Glass Gallery, Melbourne VIC Public/Private Collections Bombay Sapphire Martini Glass Collection, Sydney NSW Permanent Wall Installation, Robarta, Melbourne VIC 79
Finalists’ Biographies (continued) Three Permanent Wall Installations, Market Hotel, Melbourne VIC Awards 2007 Mitchell Family Choice Award, Montalto Sculpture Prize, Redhill VIC 2004 1st Prize, Melbourne International Flower and Garden Show Sculpture Exhibition, Melbourne VIC 2002 Northcote Pottery Award for Excellence, Melbourne VIC 2002 Pilchuck Partner Scholarship, Pilchuck School of Glass, Seattle WA USA 2001 Finalist, Ranamok Glass Prize, Australia
S
Benjamin Sewell Stanwell Park, NSW
Page 62 Born 28 May 1972 Esperance, Western Australia, Australia Education 1999 Graduate Diploma of Visual Arts, National Institute of the Arts, Australian National University, Canberra ACT
Fort James Paper, Chicago IL USA Awards 2006 The Tom Malone Prize, Art Gallery of Western Australia, Perth WA 2002 The City of Perth Craft Award for Excellence, Perth WA 1999 Pilchuck Glass Scholarship, Seattle WA USA 1998 A bsolute Au Kurant, Juried Invitational, SOFA, Chicago IL USA
T
Collaroy, NSW
Page 66 Born 22 March 1952 Ada, Yugoslavia Education 1975 Bachelor of Arts with Honours, Major(s) in Glass Design and Ceramic Sculpture, University of Applied Arts, Ceramic Department, Belgrade Yugoslavia
Page 64
Last Group Exhibition 2008 SOFA New York, represented by Compendium Gallery, New York NY USA
Born 25 May 1983 Melbourne, Victoria, Australia Education 2008- present Master of Fine Arts, Monash University, Melbourne VIC 2007 Bachelor Fine Arts Honours, Monash University, Melbourne VIC 2006 Bachelor Fine Arts, Monash University, Melbourne VIC
1996 Bachelor of Visual Arts, Curtin University, Perth WA
Last Group Exhibition 2007 L aunch ’07 Student Survey, Glass Artist Gallery, Sydney NSW
Public/Private Collections State Collection, Art Gallery of Western Australia, Tom Malone Acquisition, Perth WA
Emma Varga
Last Solo Exhibition 2008 Vibrant, Sabbia Gallery, Sydney NSW
Melbourne, VIC
2002- 2003 Bachelor of Engineering/ Science, The University of Melbourne, Melbourne VIC
Last Group Exhibition 2008 M inimalism, Prism Contemporary Glass, Chicago IL USA
V
Suzannah Terauds
1997 Diploma of Visual Arts, National Institute of the Arts, Australian National University, Canberra ACT
Last Solo Exhibition 2008 I nterior, Sabbia Gallery, Sydney NSW
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La Salle SIA College of the Arts, Singapore
Public/Private Collections Various Private Collections Awards 2008 Pilchuck Partnership Scholarship for Residential Session 3, Seattle WA USA
Public/Private Collections National Art Glass Collection, Wagga Wagga Art Gallery, Wagga Wagga NSW Australian Art Trust, Melbourne VIC Kaplan/Ostergaard Glass Collection at Palm Springs Art Museum, Palm Springs CA USA The Museum of Applied Art, Belgrade Serbia Glasmuseet Ebeltoft, Ebeltoft Denmark Awards 2009 Art Alliance of Contemporary Glass Award, 37th International Glass Invitational Exhibition, Habatat Galleries, Royal Oak MI USA 2008 Finalist, Ranamok Glass Prize, Australia 2007 Recipient, Australia Council Visual Arts Grant for New Work for Solo Exhibitions, The Story About Red at the JamFactory, Adelaide SA and SOFA Chicago
W
Public/Private Collections Die Neue Sammlung Museum, Munich Germany
Y
Waverley, South Taranaki, New Zealand
Meseu do Vidro da Marinha Grande, Marinha Grande Portugal
North Fitzroy, VIC
Page 68
Australian National Gallery, Canberra ACT
Born 28 April 1970 Auckland, New Zealand
National Gallery of Victoria, Melbourne VIC
Education 2008- present Diploma Glass Design and Production, Wanganui Glass School, Wanganui NZ
Art Gallery of Queensland, Brisbane QLD
Last Group Exhibition 2009 Group Exhibition, Stage Gallery, Hawera NZ
National Art Glass Collection, Wagga Wagga Art Gallery, Wagga Wagga NSW
Lisa Walsh
Public/Private Collections Naturopathic College of New Zealand, Auckland NZ
Art Gallery of Western Australia, Perth WA Art Gallery of South Australia, Adelaide SA Latrobe Regional Gallery, Morwell VIC
Diamond Valley Art Collection, Melbourne VIC Artbank, Australia
Maida Vale Complex, New Plymouth NZ
Monash University Collection, Melbourne VIC
Maureen Williams
City of Whitehorse Collection, Melbourne VIC
St Kilda, VIC
Page 70 Born 27 September 1952 Port Pirie, South Australia, Australia Education 1986 Bachelor of Arts (Ceramic Design, Hot Glass Major), Chisholm Institute of Technology, Melbourne VIC 1971 Diploma of Business Studies, Royal Melbourne Institute of Technology, Melbourne VIC Last Solo Exhibition 2009 A ltered Views, Sabbia Gallery, Sydney NSW Last Group Exhibition 2008 M M08, Kirra Galleries, Melbourne VIC
Awards 2006 Australia Council, Visual Arts/Crafts Board, Grant for New Work, Sydney NSW
Laurie Young Page 54 Born 16 January 1958 San Jose, California, United States of America Education 2005 Bachelor of Arts (Fine Art) with Honours, Glass, Monash University, Melbourne VIC 1995 Bachelor of Arts (Social Work) University of Melbourne, Melbourne VIC 1980 Bachelor of Arts Studio Art, University of Hawaii, Hawaii USA Last Group Exhibition 2009 E ncore, Glass Artists Gallery, Sydney NSW Public/Private Collections Kobe Lampwork Museum, Kobe Japan Private collections in USA, Europe and Australia
1999 Australia Council, Visual Arts/Crafts Board and Thomas Foundation Grants to attend and participate in GAS Expo 99, Tampa FL USA
Sir Elton John collection
1998 Full Scholarship to attend Pilchuck Glass School, Seattle WA USA
2004 Axcess Glass Award, Melbourne VIC
Awards 2007 Finalist, Ranamok Glass Prize, Australia
1996 Australia Council, Visual Arts/Crafts Board, Grant for New Work, Sydney NSW 1994 Design and production of three Awards of Recognition to Celebrate the 10th Anniversary of the Sex Discrimination Act presented by the Hon Paul Keating, Sydney NSW 1989 Mornington Peninsula Craft Event, Glass Award, Mornington VIC 81
Glossary of Glass Terms Acid Etched A process of producing matt surfaces by the use of various mixtures of chemicals based on hydrofluoric acid. Annealing Controlled cooling of a glass article in order to remove any strains that may have otherwise been “frozen” in the glass by rapid cooling during shaping. Blown Glass The technique of forming an object by inflating a gob of molten glass gathered on the end of a blowpipe. The gaffer blows through the tube, slightly inflating the gob which is then manipulated into the required form by swinging it, rolling it on a marver, or shaping it with tools or in a mould; it is then inflated to the desired size. Blowpipe A hollow, tapered metal tube, usually 1.3m long. The craftsperson gathers molten glass on the thicker end of the pipe and blows through the narrow end to inflate and shape the glass. The blowpipe comes in different sizes depending on the height of the worker, their strength, and the size of the piece to be blown. Borosilicate Glass A glass made from both silica and boric oxide usually manufactured for laboratory ware, domestic cooking ware and for many kinds of technical purposes where a relatively high resistance to both heat and thermal shock is required. It is also used for low expansion-type glasses required to bond to metals and for glasses with high degrees of chemical resistance. Ideal for lampworking. Bullseye Glass The brand name of a glass manufactured in the USA for the specific purpose of kiln working. The majority of Bullseye glass is compatible, meaning that it has the same or a similar rate of expansion.
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Cane Rods of glass usually formed by drawing out long lengths of glass from large gathers on a punty iron. Bundles of canes are often fused together and drawn out again to a suitable diameter before being cut into small decorative pieces such as millefiori for picking up into paperweights. They are also cut into lengths and placed against the side of an open mould for picking up onto a gather which is marvered and pulled out to make rods used for opaque twists and filigree work. Carved A term commonly used to describe glass which has been cut or abraded into shape from a solid block. It is also one that can be used to refer to blown or cast glass which has been further shaped by cutting, abrading, nibbling and/or grinding.
Flameworking A process of forming glass articles from glass tubing and rods by heating in a flame from a torch. Flameworking is also called lampworking. Furnace The primary heating unit from where the glass blower gathers molten glass. Fusing Heating pieces of glass in a furnace or kiln until they bond. Gaffer (English: corruption of ‘grandfather’) The master craftsperson in charge of a chair or team of hot glass workers. Gaffer Glass A New Zealand company that manufactures coloured crystal and blowing glass that is compatible with the majority of glasses used through out Australasia.
Casting A process of shaping molten glass by pouring or melting it into a mould.
Glass Blowing The shaping of molten glass by air pressure and manipulation.
Cire Perdue Refers to the ancient technique traditionally used for the casting of bronze and precious metals, but now widely used for casting of glass objects. The basic concept is that of producing a form in wax which, after being covered with a suitable investment to make a mould, is heated sufficiently in a burn-out kiln, or a double boiler for the wax to melt and run out. Glass is then melted into the space left by the wax to produce a replica of the original form.
Glory Hole The furnace used to reheat glass on the blowpipe or punty is a Glory Hole.
Cold Worked An all-embracing term for the various techniques such as engraving, grinding, carving, cutting etc carried out when the glass is cold.
Graal A technique, reputedly developed at the Orrefors factory, in order to create more precise decoration than previously possible at the glassmaker’s chair. A gather of clear glass is cased with a layer of coloured glass, or vice versa. It is then blown out into a bubble, to be either left as a bubble or opened out into a bow, and annealed before allowing cooling. The layer of colour is cut, and abraded by sandblasting or etched with acid to produce the required decoration. The bubble or bowl is then heated and picked up on either a punty or a blowing iron to be worked to the final form. The name ‘Graal’ refers to the legendary bowl in which the blood of Christ was collected as he hung on the cross.
Hot Glass A generic term for glass working from the furnace. Hot worked or sculpted A technique in which molten glass is gathered directly from the furnace on a punty and manipulated using specialised tools.
Marvering Rotating hot glass on a polished iron or marble slab to cool, control and centre the gather on the blowpipe to bring it to better workability. Melt Molten glass obtained by melting a batch of raw materials at one time.
Inclusion An element of glass or a foreign body enclosed in glass.
Merletto Particular form of cane work technique.
Intaglio Engraving This refers to any form of engraving which is cut or incised; it is now also generally accepted as referring to all work which is modeled into the glass as negative form, giving an impression of actually standing out as positive relief. It is usually carried out by using a small lathe equipped with copper wheels which are fed with a mixture of oil and abrasives.
Mould Blown An open ended cylindrical designed to create effects or grooves in the molten glass by blowing into the blowpipe while in the mould vertically.
Kiln Forming The process of fusing or shaping (usually in or over a mould) by heating it in a kiln. Laminated The joining together of layers of glass either by fusing or by the use of adhesives. Lead Glass Glass that contains a high percentage of lead oxide. It is relatively soft and has a high refractive index. Ideal for wheel cutting. Lost Wax A technique adapted from metalworking. The object to be made in glass is modeled in wax and encased in a plaster mix. The wax is melted out of the plaster thus forming the mould into which molten or powdered glass is added. After annealing, the mould is removed from the glass object which is then cold finished either by grinding, fire or acid polishing or sandblasting according to the surface required.
Murrini The English adjective “murrhine” and the Italian adjective “murrino” are sometimes applied to mosaic glass and similar objects. When used as a noun, murrina refers to a slice of a complex cane, while a murrino is an insert of multicolored glass embedded in a glass object. Overlay A layer of glass gathered over a layer of a different coloured glass. Pâte de Verre (French: glass paste) A material produced by grinding glass into a fine powder and adding a binder to create a paste.
Punty A metal rod for gathering and manipulating the hot glass. It is usually used to remove the partly formed glass object from the blowpipe and for bringing ‘bits’ of hot glass to the glass blower to be applied as handles, prunts or other decoration to a piece. Sandblasting A surface matting technique to achieve texture and decoration or to re-define a shape by sandcarving. An air compressor is used to propel sand or grit onto the object or surface. Pioneered by Val St Lambert in 1907. Slumping A process, generally worked in a kiln, which uses heat and gravity to change the shape of a three dimensional form. Spin Cast A variation on an industrial centrifugal casting technique. The metal mould normally used is replaced with an arrangement which permits the use of mouldable sand, thus allowing one-off items to be produced. Hot glass is ladled into the sand mould, which is then spun. Centrifugal force pushes the glass up the sides of the mould to form a hollow casting. Wheel Cut The use of various types of abrasive wheels to produce a wide range of decorating facets and cuts.
Pâte de Crystal Derived from French term meaning paste of glass. Crystal generally denotes lead content in the glass. Polishing A cold working process where the glass object is smoothed either by holding it against a rotating wheel fed with a fine abrasive, by immersing the glass in acid or by a hot flame.
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The Judges Jacqueline Clayton
John Odgers
Jacqueline Clayton is Head of the Ceramics Studio at the College of Fine Arts, University of NSW and former Head of the School of Design Studies. She has a long-standing interest in contemporary glass, and was centrally involved in the establishment and administration of the glass programme at the University of Western Sydney.
John Odgers is the National Manager – Creative Industries at Austrade, the federal government’s trade and investment facilitation agency. He is based in Sydney.
Jacqueline is principal of the design and production studio ‘Press to Play’. She exhibits regularly in Australia and overseas, and is active in supporting art/craft/design practice through curatorial activities and publication.
Ivana Jirasek Ivana Jirasek has been Coordinator at Artsuppport Australia, an initiative of the Australia Council for the Arts to increase cultural philanthropy, since 2003. She had previously worked on Craft Policy for the Australia Council after long involvement with the contemporary craft community as curator and writer. She has worked for Craft Queensland, and was Contemporary Craft Curator for a partnership of the Centre for Contemporary Craft (now known as Object), Wollongong City Gallery, University of Wollongong and the NSW Regional Galleries Association. She catalogued the National Art Glass Collection at Wagga Wagga Art Gallery, and worked on glass projects for a partnership involving the National Gallery of Australia, Curator Geoffrey Edwards and The Thomas Foundation. She has been actively involved in Ausglass, and has made presentations about Australian glass at international glass events including the ICOM Glass Committee Conference, the National Glass Centre at Sunderland and at Gallery Enomoto during the GAS conference Seto, Japan. Ivana has been a past Judge of the Ranamok Glass Prize in 1997 and 2006. 84
In this role he oversees the global creative industries team of 24 Industry and Export Advisers and Business Development Managers in Australia and in 14 overseas markets. This network provides advice and assistance to businesses in the creative industries when they are beginning their export journey, and when they are exporting. His role includes providing advice on the creative industries within Austrade, and to the Trade Minister, as well as contributing to policy and strategy for arts export programs.
Andy Plummer Andy Plummer co-founded the Ranamok Glass Prize with Maureen Cahill. He and his wife, Deirdre, collect contemporary glass from Australia and New Zealand.
Ranamok 2009 Tour Dates 19 August – 27 September 2009 Canberra Glassworks 11 Wentworth Avenue Kingston ACT 2604 (02) 6260 7005 www.canberraglassworks.com
11 December 2009 – 31 January 2010 Noosa Regional Gallery Riverside, Pelican Street Tewantin QLD 4565 (07) 5449 5297 www.noosaregionalgallery.com
5 October – 24 October 2009 Foyer, Angel Place Office Tower 123 Pitt Street Sydney NSW 2000 0400 019 734 www.artandabout.com.au www.angelplace.com.au
14 February – 1 April 2010 Shoalhaven Arts Centre 12 Berry Street Nowra NSW 2541 (02) 4422 0648 www.shoalhavenartscentre.com.au
9 November – 13 November 2009 Queensland Parliament House Cnr George and Alice Streets Brisbane QLD 4000 (07) 3406 7381
13 August – 17 October 2010 Wagga Wagga Art Gallery Cnr Baylis and Morrow Streets Wagga Wagga NSW 2650 www.waggaartgallery.org
Acknowledgements Ranamok Glass Prize Limited wishes to thank all our sponsors, judges and the following: Board Members Andy Plummer Maureen Cahill Jane Burns AM Damien Clarke Deirdre Plummer
Underwriters Whitehaven Coal Limited XLX Pty Ltd
Ranamok 2009 Catalogue design and production Dupree Design Group
Ranamok 2009 Catalogue essay Jim Allen
Administration Elizabeth MacDougall Jo Little
Fundraising Andy Plummer
2009 Craft Arts International essay Clare Bond
Design | Dupree Design Group www.dupree.com.au Print | Lindsay Yates Group
Detail from Ranamok Glass Prize Winner 2008 A Net for Light #1 by Matthew Ryan Photography by Christian Mushenko ISBN 978-0-9806576-0-9
www.ranamok.com