Ranamok Glass Prize 2013

RANAMOK GLASS PRIZE 2013

Detail from Ranamok Glass Prize Winner 2013 Punto in Aria (Stitches in Air) by Denise Pepper Photography by Christian Mushenko

ISBN 978-0-9806576-4-7

www.ranamok.com

RANAMOK GLASS PRIZE 2013

Ranamok 2013 Tour Dates 14 August – 12 September 2013 Canberra Glassworks 11 Wentworth Avenue Kingston ACT 2604 02 6260 7005 www.canberraglassworks.com

11 – 15 November 2013 Foyer Riverside Centre 123 Eagle Street Brisbane QLD 4000 0400 019 734

23 September – 11 October 2013 Foyer Angel Place Office Tower 123 Pitt Street Sydney NSW 2000 0400 019 734 www.artandabout.com.au

24 November – 21 January 2014 Moree Plains Gallery 25 Frome Street Moree NSW 2400 02 6757 3320 http://www.moreeplainsgallery.org.au

31 January – 9 March 2014 Blue Mountains Cultural Centre 30 Parke Street Katoomba NSW 2780 02 4780 5410 http://bluemountainsculturalcentre.com.au

Associate Event of ‘Art & About Sydney 2013’, presented by the City of Sydney.

Underwriters of the 2013 Ranamok Glass Prize

Acknowledgements Ranamok Glass Prize Limited wishes to thank all our sponsors, judges, artists and the following: Board Members Maureen Cahill – Co-founder Damien Clarke Jacqueline Clayton Andy Plummer – Co-founder Deirdre Plummer Fundraising Andy Plummer

Underwriter XLX Pty Ltd Logistics Partner Grace Fine Art Ranamok 2013 Catalogue Essay Brian Parkes

Logistics Partner

Design | Dupree Design Group www.dupree.com.au Print | Lindsay Yates Group

Ranamok 2013 Catalogue Design and Production Dupree Design Group Administration Elizabeth MacDougall Assistants Polina Gavria James Graham Nick Hay

RANAMOK GLASS PRIZE SPONSORS 2013

Contents The Ranamok Glass Prize 2013

3

Introduction

4

Finalists

2

Mark Ammermann

6

Kristin McFarlane

26

Andrew Baldwin

8

Tom Moore

28

Lisa Cahill

10

Richard Morrell

30

Christine Cathie

12

Paddy Robinson

32

Alexandra Chambers

14

Keith Rowe

34

Matthew Curtis

16

Richard Whiteley

36

Evelyn Dunstan

18

Kathryn Wightman

38

Andrea Fiebig

20

Maureen Williams

40

Brenden Scott French

22

Melinda Willis

42

Kim Logue

24

Kayo Yokoyama

44

Finalists’ Biographies

46

Glossary of Glass Terms

56

The Judges

59

2012 Recipient

60

Ranamok 2013 Tour Dates

61

Acknowledgements

61

The Ranamok Glass Prize 2013 Moving into our 19th year, my heartfelt thanks go to Ranamok’s various sponsors and benefactors for their financial support, to my fellow directors for their sage guidance and input, to our judges who have the unenviable task of making some hard decisions, to Elizabeth, Poli and James who manage and organise the process year round and make it all look easy and finally, to the many artists who put their work on the line and ‘take a chance to have a chance’.

Andy Plummer

It is hard to believe that 20 years has passed since Andy and I first hatched the idea of a national prize for Australian and New Zealand artists working in glass. From its humble beginnings, and now in its 19th year, the profile of this touring Prize has grown to international status.

Over these years, the collective choices by a rotating panel of judges, reveals new ideas and interpretations in this exciting medium. This has guaranteed outstanding annual exhibitions that have drawn growing and admiring audiences from a wide variety of backgrounds.

I would especially like to thank all of the artists and judges who have participated over these years.

None of this would have been possible if it were not for the ongoing support and sponsorship from volunteers, arts bodies and the many generous donations that we have received across a broad spectrum – for which we are truly grateful.

The outstanding work of the administrative team is very much appreciated and has certainly been noticed by many.

Special thanks to Andy for recruiting the various sponsors, many of whom might not have been familiar with such artworks, but who have come to appreciate and value the significance of this Prize.

We look forward to artists all coming forward and pushing boundaries by submitting “a major effort in their body of work” to ensure that next year’s exhibition is the most memorable to celebrate this important 20 year milestone.

Once again, sincere thanks to all!

Maureen Cahill Glass Artists’ Gallery Co-founder, Ranamok

3

Introduction Like many people with a strong personal or professional interest in contemporary Australian and New Zealand glass, I have a reasonable collection of catalogues – like this one – that have been produced to accompany the Ranamok Glass Prize over the past 19 years. They are an important resource for collectors, curators, artists and administrators. As a set, these catalogues contain several hundred pages that provide a longitudinal survey of glass art and design from our region. And because of the nature of the Prize, they also highlight many of the exciting personal developments in the work of leading protagonists in the field.

It has been a great privilege for me to have been a judge for the Prize for the last two years. The opportunity to see all of the entries – 180 over the two years – has given me valuable insight into the state of play in this dynamic and evolving sector. I am truly grateful for this and I know this sentiment is shared by my fellow judges this year; Anne Flanagan, Gill Minervini and Frank McBride.

The state of the global economy has meant that many artists are doing it tough – not unlike their counterparts in business and the broader community. In business, the signs of optimism are coming largely from those companies who are investing in innovation and it should come as no surprise that contemporary glass artists who are succeeding critically and commercially stand out for the way in which they continue to push the boundaries of their practice.

Some artists innovate through experimental changes in direction, material or technique, while others dedicate themselves to incremental refinement through the dogged pursuit of a particular process or line of enquiry. Because of the stated criteria – of encouraging creativity, skill and innovation in contemporary glass – the Ranamok Prize judges have always sought to select ‘break-through’ works irrespective of whether the entrant is a student or a highly regarded established artist. This was certainly 4

at the forefront of our thinking in whittling down to the 20 exhibiting finalists in the 2013 Prize.

It was reassuring to see a strong field of applicants again this year – with proposals received from every Australian state and territory, other than the Northern Territory, and a solid representation from New Zealand. We saw images of works by artists who had only just completed tertiary study and others by senior figures who have been working with glass since the 1970s and 80s. As always, there was plenty of good work that didn't make the final selection.

One interesting variation from previous years was the encouragement – through the entry form – to acknowledge gaffers and assistants in the production of the work. For me personally, as someone who particularly enjoys the choreographed teamwork of the hot shop, this was a great reminder of the collaborative processes required to produce so much work in this demanding medium. Many of the gaffers noted were artists who had themselves been finalists in previous year’s Ranamok Glass Prize and two are also finalists this year!

The vessel continues to be universal for the hot glass blowers and the judges were impressed with the explorations of colour and surface in the elegant formalist works of Andrew Baldwin, Andrea Fiebig and Blue Mountains-based veteran Keith Rowe. The vessel can also provide a frame in which to convey or evoke narrative and the other blown works selected by Kayo Yokayama and Tom Moore play with this idea in fascinating ways – the head shaped vessel in Moore’s perhaps suggesting the mind in which his curious alternate universe exists.

This year saw some exceptionally accomplished formal/ sculptural works in cast glass by Matthew Curtis, Richard Whiteley and Christine Cathie – each investigating the optical intrigue of the interplay between light and solid glass volumes. Indeed, casting was generally strong with

the ritualistic spin cast work by Richard Morrell and the lost wax floral piece by Evelyn Dunstan also standing out.

The latter representing a further refinement in this artist’s now well recognised oeuvre.

The very capacity of glass to be cast makes it a medium well suited to the mimicry of objects made from other materials and three very different works that captivated us with their equal poignancy were the cast obsidian hand saw

by Kim Logue, the group of simple rice bowls made from recycled industrial glass by Mark Ammermann and the minimalist kiln formed envelopes by Alexandra Chambers.

Chamber’s piece laments the loss of letter writing in our electronically connected era and the same theme is explored in Kristin McFarlane’s museum-like installation of petri-dish specimens of handwriting from old postcards.

That glass should be a material used to express these ideas seems highly appropriate to me as I sit writing this essay, typing directly onto the glass surface of an Apple iPad. The screen-like surface of the slumped architectural sheet glass in Melinda Willis’s work also seems to archive the sentimental space of the outer-suburban landscape in the encased photographic print.

Another of the universal themes that emerged amongst the works of the finalists, was the relationship between landscape and the human condition. Maureen Williams, Brenden Scott French and Lisa Cahill each submitted some of the most conceptually and technically compelling works by mining this rich art historical vein.

There were several entries that were highly experimental and the judges were struck most by those that combined an interesting idea with a boundary-pushing technique such as Paddy Robinson’s work that incorporated knitted unfired fibreglass and intermittent projection or Kathryn Wightman’s relief wallpaper patterns made from sifted, stacked and sintered glass powder.

This year’s strong field of 20 finalists reminds us that glass practice in Australia and New Zealand continues to be highly inventive, resilient in a difficult market and worthy of the significant international attention it receives. These selected works will be seen at the Canberra Glassworks, where the winner will be announced in August, before touring nationally over the next 12 months.

The Ranamok Glass Prize plays a significant role in the development, promotion and understanding of glass art in our region and as it nears its 20th anniversary I would like to acknowledge and pay tribute to its co-founders – accomplished businessman, passionate glass collector and more recently practising glass artist Andy Plummer, who each year secures the significant sponsorship required to run the Prize and the inimitable Maureen Cahill who has been Director of Glass Artists’ Gallery for now more than 30 years. Andy and Maureen’s contribution to this field has been phenomenal and both continue to play key roles in the stewardship of the Prize.

The Ranamok is one of the best organised and well managed prizes I have been involved with and I thank and congratulate Elizabeth MacDougall, Polina Gavria and James Graham who work hard to ensure it runs as smoothly as it does.

I encourage all artists working in glass in Australia and across the ditch to strive to innovate in their work and to enter Ranamok 2014 – you can help celebrate the longevity and importance of this Prize by ensuring the most outstanding quality and largest number of entries are received for its 20th anniversary.

Brian Parkes CEO and Artistic Director JamFactory

5

Mark Ammermann 7 Rice Bowls Lost wax cast, recycled industrial glass 8 H x 92 W x 12.5 D cm

Monbulk, Victoria, Australia

The bowl is a universal object commonly utilised in sharing. These seven rice bowls are unusually fine, the light reinterpreted through them. They are very precious. A nice contrast to the recycled industrial glass they are made from.

6

Photographer: Mark Ammermann

Andrew Baldwin Void II Blown and cold worked glass 58 H x 23 W x 7 D cm

8

Mile End, South Australia, Australia

Void was first conceived while spending time on a farm in the Mallee district of South Australia. For a while I lived without any human contact. During this period of solitude a space opened in my awareness.

I felt isolated from other human beings yet intimately connected to the land.

Photographer: Rob Little

Lisa Cahill The Blue Hour Kiln formed and carved glass 30 H x 57 W x 3.5 D cm

Pialligo, Australian Capital Territory, Australia

The Blue Hour references those moments of atmospheric light when the light is either retreating or about to illuminate the new day.

Intensity of colour, translucency and captured light combine to evoke notions of an ephemeral landscape and encourage the viewer to consider the transitory nature of human existence.

10

Photographer: Greg Piper

Christine Cathie O-void Cast lead crystal, acid etched and polished 62 H x 32 W x 12 D cm

12

Herne Bay, Auckland, New Zealand

Challenging the boundaries of casting and allowing the inherent beauty of the glass to shine – furthering my exploration of the O-void by using a tall twisted triangular sweep and working from thick to thin, matt to shiny and weight to lightness.

Photographer: Christine Cathie

Alexandra Chambers

Captains Flat, New South Wales, Australia

Communication Series Kiln formed glass 1 H x 39 W x 29 D cm

The standard hand written letter has become less of a common practice and more of a rarity.

Communication is slowly being replaced by social media, Facebook & e-mailing.

This piece is about capturing the joys of writing, and receiving letters in the post.

14

Photographer: Stuart Hay

Matthew Curtis Xylem Section Blown and cast tinted glass, carved and polished 42 H x 90 W x 32 D cm

Queanbeyan, New South Wales, Australia

This work draws upon the structured cross sections of plant life. A contemplation of the details within the exquisite architecture of organic growth.

It affords an opportunity to contemplate that which lies within, a sculptural investigation between the solid depths and contrasting interior surfaces of these forms.

16

Photographer: Rob Little

Evelyn Dunstan Te Turituri (The Threat #4) Lost wax, cast as one piece, Gaffer 45% lead crystal, cold worked and acid etched 49 H x 30 W x 29 D cm

18

Pakuranga, Auckland, New Zealand

A weed, an alien, a beautiful threat, an evolutionary choice that will succeed despite our efforts to preserve our natural environment.

Beautiful and successful, whether we love it or hate it, it makes no difference to the inevitable outcome.

Photographer: Annuskha Dunstan

Andrea Fiebig Ripple Blown and cold worked glass

Maylands, South Australia, Australia

Contemplating reflections on water.

28 H x 26 W x 7 D cm Gaffer: Andrew Baldwin

20

Photographer: Michael Haines

Brenden Scott French

Kensington, South Australia, Australia

Tectonic Trace – Binary #8 Kiln formed glass 118 H x 87.5 W x 4 D cm

This work depicts the evolution of a familiar landscape over a geologic timeline. It explores various developments of progress, decay and renewal.

Throughout the making process I have concentrated on the idea of perpetuity where the connection of techniques, rhythm and colour reveal the pattern of survival.

22

Photographer: Grant Hancock

Kim Logue

Wellsford, Northland, New Zealand

Palingenesis Cast obsidian glass

Palingenesis, n. Reformation of

2.5 H x 52 W x 14.5 D cm

Here I define the very essence of palingenesis, creating a modern work by casting and re-fusing the oldest form of glass – obsidian.

a rock by refusion.

I pay homage to the obsidian toolmakers who lived 13,000 years ago on the Greek island of Milos.

24

Photographer: Ron Hawker

Kristin McFarlane Typographic Specimens: The Lost Art of Letter Writing Kiln formed and cold worked glass, silver leaf and fibreglass inclusions, glass lenses 1.9 H x 95 W x 38 D cm

East Ringwood, Victoria, Australia

Postcards were once a common form of communication. As technology has evolved, their use has dwindled and hand written messages have been replaced by email, text and Twitter.

These specimens of postcards are an archive of handwriting, an emotive form of communication that is rapidly becoming a lost art.

26

Photographer: John Hoogendoorn

Tom Moore Massive Microscopic Bud Blown and solid glass, silver leaf 82 H x 42 W x 24 D cm

Richmond, South Australia, Australia

Massive Microscopic Bud is the largest character I have ever made and one of the most intricately detailed. It strives to unify themes that have engaged my creative practice since the beginning.

I like to invent new creatures combining plants, animals and machines, imagining that everything is alive and curious.

28

Photographer: Grant Hancock

Richard Morrell Twenty-Seven Ways of Loving You Spin cast glass

Castlemaine, Victoria, Australia

Part of an ongoing exploration of the vessel as a vehicle of expression.

31 H x 31 W x 18 D cm

30

Photographer: Richard Morrell

Paddy Robinson Just “Not Cricket” Knitted fibreglass (unfired), glass rod and float glass – intermittent projection of camouflage over sweater 60 H x 32 W x 32 D cm

Sofala, New South Wales, Australia

This knitted glass cricket sweater is deceptively soft and sensual but it is still glass – not altogether safe – camouflage heightens the sense of even more danger – Just “Not Cricket”

Coldworker: Bridget Thomas

32

Photographer: Bruce Alexander

Keith Rowe Pebble Blown glass

Blackheath, New South Wales, Australia

Universe is reflected in the smallest of things.

38 H x 41 W x 41 D cm

34

Photographer: Keith Rowe

Richard Whiteley

Queanbeyan, New South Wales, Australia

Afterglow Cast and carved glass 50 H x 35.4 W x 13 D cm

36

These works explore the nature of light and how we experience it. Through the constructing of charged voids and emotive solids, multiple colours create dimension and capture a frozen moment of particles that oscillate, stream and wave across our retina.

Photographer: Greg Piper

Kathryn Wightman

Bastia Hill, Manawatu/Wanganui, New Zealand

Wallpaper Sifted, stacked and sintered glass powder 100 H x 170 W x 5 D cm

38

Wallpaper investigates the balance between reality and fiction through decorative pattern. The repeat of hybrid retro designs is replicated in sifted glass powder. A graphic illusion of depth is replaced with the relief of sintered layers. The three-dimensional glass sculpture emerges from the surface of the wall.

Photographer: Leigh Mitchell-Anyon

Maureen Williams “when” Painted, cast and cold worked glass 27 H x 83 W x 3.5 D cm

40

St Kilda, Victoria, Australia

My work uses personal narrative to express an altered view. The painting reflects my abstract notion of reality as imagery and is concerned with the juxtaposition of nature and Man’s imposition on nature and the relationship between Man and the land.

Photographer: David McArthur

Melinda Willis Resonance II Digital print on hand sanded mirror, slumped and cold worked float glass, steel 90 H x 90 W x 13.5 D cm

Lyneham, Australian Capital Territory, Australia

Resonance II investigates the optic properties of architectural sheet glass as a fascinating conceptual construct through its ability to compress, reflect and reinterpret space.

Glass is the subject of, and means of expression in this artwork, highlighting the qualities of this unique, ubiquitous material in the environment around us.

42

Photographer: Greg Piper

Kayo Yokoyama A Place Called Home Blown and engraved glass 42 H x 35 W x 24 D cm Gaffer: Keith Rowe

Blackheath, New South Wales, Australia

Framing my memories from the past is the key to my inspiration.

My memories are the key to self, where I have been, where IÂ am going and where I am.

Just like placing keepsakes in the special box, I place a home in the frame.

44

Photographer: Keith Rowe

Finalists’ Biographies

A

Awards/Grants 2011 Glass Plus Gallery Award, Monash University, Melbourne VIC Australia

C

Mark Ammermann

2011 D. W. Rogers Award, Monash University, Melbourne VIC Australia

Lisa Cahill

2011 Blackwood Crystal Award, Monash University, Melbourne VIC Australia

Page 10

Monbulk, VIC

Page 6 Born 1961 Melbourne, Victoria, Australia Education 2012 Workshop, Lino Tagliapietra, Canberra Glassworks, Canberra ACT 2012 Master Class, Jiyong Lee, Canberra Glassworks, Canberra ACT 2011 Bachelor of Fine Arts, Monash University, Melbourne VIC

2011 Kirra Gallery Award, Monash University, Melbourne VIC Australia

B Andrew Baldwin Mile End, SA

Page 8

2008 Glassblowing Assistant, Katie Brown, Chronicle Glass, Wanganui Manawatu/ Wanganui NZ

Born 1977 Stirling, Stirlingshire, United Kingdom

2008 Technical Assistant, Brock Craig, Quay School of the Arts Summer School, Wanganui Manawatu/Wanganui NZ

Education 2000 Bachelor of Fine Arts (Glass) with Honours, School of Art, Australian National University, Canberra ACT

2007 Diploma of Glass Design and Production (1st Year), Wanganui Glass School, Wanganui Manawatu/ Wanganui NZ

Last Solo Exhibition 2009 L uminous Space, Goulburn Regional Art Gallery, Goulburn NSW

Last Solo Exhibition 2012 T he Cabinet Show, Robin Gibson Gallery, Sydney NSW

Last Group Exhibition 2013 H all of Flames, JamFactory at the Adelaide Convention Centre, Adelaide SA

Last Group Exhibition 2012 L aunch, Glass Artists’ Gallery, Sydney NSW

Public/Private Collections Museum of Fine Arts, Boston Massachusetts USA

Public/Private Collections Monash Faculty of Art & Design Permanent Collection, Monash University, Melbourne VIC

Awards/Grants 2007 New Work Grant (Established Artist), Australia Council for the Arts, Australia

Pialligo, ACT Born 1974 Melbourne, Victoria, Australia Education 2013 Artist in Residence, Canberra Glassworks, Canberra ACT 2011 Artist in Residence, Canberra Glassworks, Canberra ACT 2008 Artist in Residence, North Lands Creative Glass, Lybster Caithness UK 2001 Artist in Residence, Bullseye Glass Company, Portland Oregon USA 2000 Bachelor of Ceramic Design (Glass) with Honours, Monash University, Caulfield VIC Last Solo Exhibition 2012 L isa Cahill, David Richard Contemporary, Sante Fe New Mexico USA Last Group Exhibition 2013 L andscape Masters of Glass, Sabbia Gallery, Paddington NSW Public/Private Collections Glassmuseet Ebeltoft, Ebeltoft Jutland Denmark North Lands Creative Glass, Lybster Caithness UK Kaplan/Ostergaard Glass Collection, Palm Springs Art Museum, Palm Springs California USA Latheron House Collection, Bullseye Glass Company, Latheron Caithness UK National Art Glass Collection, Wagga Wagga Regional Art Gallery, Wagga Wagga NSW

46

Awards/Grants 2013 Finalist, Waterhouse Natural Science Art Prize, Adelaide SA Australia 2012 Finalist, Ranamok Glass Prize, Australia 2011 Finalist, Tom Malone Glass Prize, Art Gallery of Western Australia, Perth WA Australia 2010 New Work Grant (Established Artist), Australia Council for the Arts, Australia 2010 Finalist, Tom Malone Glass Prize, Art Gallery of Western Australia, Perth WA Australia

Christine Cathie Auckland, New Zealand

Page 12 Born 1955 Wellington, New Zealand Education 2012 Glass Sculpture Workshop, Pilchuck Glass School, Stanwood Washington USA 2000 Glass Sculpture Workshop, Artstation, Auckland NZ

2007 2nd Prize, Luminous Art of Glass Awards, Mazda Artworks, Auckland NZ 2006 Finalist, Ranamok Glass Prize, Australia 2004 Members Award, New Zealand Society of Artists in Glass, Conference Exhibition, Wanganui Manawatu/ Wanganui NZ 2004 Finalist, Ranamok Glass Prize, Australia 2003 Grant, Creative New Zealand, Wellington NZ 2003 Finalist, Ranamok Glass Prize, Australia

1999 Glass Sculpture Workshop, Artstation, Auckland NZ

2002 Student Award, New Zealand Society of Artists in Glass, Conference Exhibition, Wanganui Manawatu/Wanganui NZ

2008 Finalist, Ranamok Glass Prize, Australia

Last Solo Exhibition 2013 C ontinuity, Avid Gallery, Wellington NZ

2007 Finalist, Young Glass Award, Ebeltoft Glass Museum, Ebeltoft Jutland Denmark

2002 Finalist, Norsewear Art Awards, Waipukurau Hawkes Bay NZ

Last Group Exhibition 2013 P rima, Sabbia Gallery, Paddington NSW

2002 Finalist, Ranamok Glass Prize, Australia

2007 New Work Grant (Established Artist), Australia Council for the Arts, Australia

Public/Private Collections Glasmuseet Ebeltoft, Ebeltoft Jutland Denmark

2009 Finalist, Tom Malone Glass Prize, Art Gallery of Western Australia, Perth WA Australia

2004 Finalist, Ranamok Glass Prize, Australia 2003 Travel Grant, Ian Potter Cultural Trust, Melbourne VIC Australia 2002 New Work Grant (Emerging Artist), Australia Council for the Arts, Australia

Ministry of Foreign Affairs, Wellington NZ Private Collection of Sir Elton John Various Private Collections

2002 Finalist, Ranamok Glass Prize, Australia

Awards/Grants 2012 Finalist, Ranamok Glass Prize, Australia

2001 1st Prize, Bullseye by Design, Bullseye Glass Company, Portland Oregon USA

2012 Partial Scholarship, Pilchuck Glass School, Stanwood Washington USA

2001 Finalist, Ranamok Glass Prize, Australia

2011 Finalist, Ranamok Glass Prize, Australia

Alexandra Chambers Captains Flat, NSW

Page 14 Born 1975 Albuquerque, New Mexico, United States of America Education 2001 Bachelor of Visual Art (Glass), School of Art, Australian National University, Canberra ACT

2008 Finalist, Molly Morpeth Canaday Glass Awards, Whakatane Bay of Plenty NZ

Last Group Exhibition 2013 P rima, Sabbia Gallery, Paddington NSW

2008 3rd Prize, Lincoln Green Sculpture Award, Waitakere Trust Art Awards, Waitakere City Auckland NZ

Public/Private Collections Wagga Wagga Art Gallery, Wagga Wagga NSW

2007 Creative Excellence Award, Molly Morpeth Canaday Glass Awards, Whakatane Bay of Plenty NZ

Private Collection of Sandy Benjamin State Collection, Canberra Museum and Gallery, Canberra ACT

47

Finalists’ Biographies (continued) Awards/Grants 2011 New Work Grant, Australia Council for the Arts, Australia

D

2010 Scholarship, Pilchuck Glass School, Stanwood Washington USA

Evelyn Dunstan

2008 Project Funding Grant, artsACT, Canberra ACT Australia

Page 18

2006 New Work Grant, Australia Council for the Arts, Australia 2005 Stephen Procter Fellowship, School of Art, Australian National University, Canberra ACT Australia

Matthew Curtis Queanbeyan, NSW

Page 16 Born 1964 Luton, Bedfordshire, United Kingdom Education 1991 Apprenticeship, Denizen Glass Studio, Sydney NSW Last Solo Exhibition 2013 A Line of Symmetry, Sabbia Gallery, Paddington NSW Last Group Exhibition 2013 I nternational Invitational, Habatat Gallery, Royal Oak Michigan USA Public/Private Collections National Gallery, Canberra ACT National Glass Collection, Wagga Wagga Art Gallery, Wagga Wagga NSW Awards/Grants 2006 New Work Grant (Established Artist), Australia Council for the Arts, Australia

Auckland, New Zealand Born 1961 Auckland, New Zealand Education 2012 Galia Amsel Workshop, Wanganui Universal College of Learning, Wanganui Taranaki NZ 2012 Pâte de Verre Masterclass, Shini-ichi and Kimiaki Higuchi, Wanganui Taranaki NZ 2011 Kiln Formed Glass Masterclass, Gerry King, Wanganui Taranaki NZ 2011 Photo Mask Sand Carving Masterclass, Lawrence Morrell, Wanganui Taranaki NZ

2007 Aluminium Casting, Pakuranga College, Auckland NZ 2006 Fusing and Slumping Workshop, Claudia Borella, Auckland NZ 2006 Raku Pottery, Auckland Studio Potters, Auckland NZ 2006 Flame Beadmaking, Peter Viesnik, Auckland NZ 2006 Jewellery Construction, Uxbridge, Auckland NZ 2005 Pottery, Duncan Shearer, Margaret Sumich, Auckland Studio Potters, Auckland NZ 2004 Cast Glass Yearlong Course, Artstation, Auckland NZ 2004 Pottery, Matt McLean, Penrose, Auckland NZ

2011 Workshop, Daniel Clayman, Sydney College of the Arts, The University of Sydney, Sydney NSW

2004 Pottery, Auckland Studio Potters, Auckland NZ

2010 What’s Going on in There? Workshop, Ann Robinson, Auckland NZ

2003 Cast Glass, Uxbridge, Auckland NZ

2009 Pounamu Carving Workshop, Sam Wilkinson, Artstation, Auckland NZ 2008 Glassblowing, Peter Viesnik, Auckland NZ 2008 Hot Casting, Mitchell Gaudet, Pratt Fine Arts Centre, Seattle Washington USA 2008 USA Casting Techniques, Hugh McKay, Port Orford Oregon USA 2008 Fusing Masterclass, Emma Varga, Wanganui Taranaki NZ 2008 Bronze Casting, David Reid, Corbans Summer School, Auckland NZ 2007 Painting on Glass, Sharon Peters, Canberra Glassworks, Canberra ACT 2007 Omaru Stone Carving, Lauren Kitts, Auckland NZ

48

2007 Precious Metal Clay, Pakuranga College, Auckland NZ

2004 Metal Sculpture, Penrose, Auckland NZ 2003 Stained Glass, Edgewater College, Auckland NZ 2003 Slumping and Fusing Glass, Uxbridge, Auckland NZ 2003 Slip Casting Workshop, Western Potters, Auckland NZ 2003 Mosaics, Edgewater College, Auckland NZ 2002 Pottery, Edgewater College, Auckland NZ 2002 Stained Glass, Edgewater College, Auckland NZ 1981 Pottery, Peter Collis, Talisman, Auckland NZ 1979 Graphic Arts, Waikato Institute of Technology, Hamilton Waikato NZ

Last Solo Exhibition 2012 I nfluence, Orexart Gallery, Auckland NZ

2007 Honourable Mention, Luminous Art of Glass Awards, Auckland NZ

Last Group Exhibition 2013 E nsemble, Wagga Wagga Art Gallery, Wagga Wagga NSW

2006 Finalist, Ranamok Glass Prize, Australia

Public/Private Collections Kaplan/Ostergaard Glass Collection, Palm Springs Art Museum, Palm Springs California USA

2006 2nd Prize, New Zealand Society of Artists in Glass Biennial Conference, Auckland NZ

Pitchersky/Morrison Collection, California USA Private Collection of Andy and Deirdre Plummer Private Collection of Sir Elton John Seven Bridges Art Foundation, Greenwich Connecticut USA Various Private Collections Winners Collection, Ranamok Glass Prize, Australia

2006 Honourable Mention, Luminous Art of Glass Awards, Auckland NZ

2005 Finalist, Ranamok Glass Prize, Australia 2004 Merit Award, Sculpture and Vessel, Manukau Auckland NZ

Brenden Scott French Kensington, SA

Page 22 Born 1969 Toowoomba, Queensland, Australia Education 2003 Bachelor of Visual Arts (Glass) with Honours, School of Art, Australian National University, Canberra ACT 1999 Glass Studio Associate, JamFactory, Adelaide SA

F

1997 Bachelor of Visual Arts (Glass), Sydney College of the Arts, The University of Sydney, Sydney NSW

Andrea Fiebig

Last Solo Exhibition 2012 F utures Pass Remains, Beaver Galleries, Canberra ACT

Maylands, SA

Page 20 Born 1983 Berlin, Germany

Last Group Exhibition 2013 A ustralian Glass Now, William Traver Gallery, Seattle Washington USA

2012 Artist Prize, Warm Glass UK, Wrington Somerset UK

Education 2011 Glass Studio Associate, JamFactory, Adelaide SA

Public/Private Collections Boston Museum of Fine Arts, Boston Massachusetts USA

2012 1st Prize and Merit, Royal Easter Show, Auckland NZ

2006 Bachelor of Fine Arts with Honours, Monash University, Caulfield VIC

Various Private and Public Collections

2012 People’s Choice Award, New Zealand Society of Artists in Glass Biennial Conference, Wanganui Taranaki NZ

2001 Certificate IV in Applied Art and Design, Yarra Valley Grammar School, Melbourne VIC

Awards/Grants 2013 Independent Makers and Presenters, Professional Development, Arts SA, Adelaide SA Australia

2011 Lost Wax Casting on Murano, Teacher, Gaffer Glass New Zealand, Murano Venice Italy

Last Group Exhibition 2013 3 65 Cups, Amy Worth Gallery, Adelaide SA

2011 Independent Makers and Presenters, Professional Development Assistance, Arts SA, Adelaide SA Australia

2010 Finalist, Ranamok Glass Prize, Australia

Public/Private Collections Various Private Collections

2011 Finalist, Ranamok Glass Prize, Australia

Awards/Grants 2012 Finalist, Ranamok Glass Prize, Australia

2010 3rd Prize, Molly Morpeth Canaday Glass Awards, Whakatane NZ 2009 Finalist, Molly Morpeth Canaday Glass Awards, Whakatane NZ 2007 Recipient, Ranamok Glass Prize, Australia

Awards/Grants 2012 Mentorship Grant, Arts SA, Adelaide SAÂ Australia 2011 Finalist, Ranamok Glass Prize, Australia

2009 Independent Makers and Presenters, Professional Development Assistance, Arts SA, Adelaide SA Australia 2009 Finalist, Ranamok Glass Prize, Australia 2008 Finalist, Ranamok Glass Prize, Australia

49

Finalists’ Biographies (continued) 2007 The Stephen Procter Fellowship, School of Art, Australian National University, Canberra ACT Australia

L

M

2007 Artist in Residence, North Lands Creative Glass, Lybster Caithness UK

Kim Logue

Kristin McFarlane

Northland, New Zealand

East Ringwood, VIC

2007 Artist in Residence, Canberra Glassworks, Canberra ACT Australia

Page 24

Page 26

Born 1963 Auckland, New Zealand

Born 1968 Melbourne, Victoria, Australia

Education 2012 Bachelor of Applied Arts, NorthTec, Kerikeri Northland NZ

Education 2004 Master of Fine Arts (Glass), Monash University, Melbourne VIC

Last Group Exhibition 2012 M olly Morpeth Canaday 3D Sculpture Award, Exhibition Centre, Whakatane NZ

2001 Graduate Diploma (Glass), Monash University, Melbourne VIC

2007 Finalist, Ranamok Glass Prize, Australia 2003 Finalist, Ranamok Glass Prize, Australia 2002 Finalist, Ranamok Glass Prize, Australia 2000 Finalist, Ranamok Glass Prize, Australia

Public/Private Collections Sir James Wallace Trust, Pah Homestead, Auckland NZ Various Private Collections Awards/Grants 2011 Finalist, Ranamok Glass Prize, Australia 2011 Finalist, Objective Art Awards, Otago NZ 2011 Finalist, Central Otago Art Awards, Southland NZ

1993 Bachelor of Arts (Graphic Design), Monash University, Melbourne VIC Last Solo Exhibition 2011 Typecast, Monash University, Melbourne VIC Last Group Exhibition 2013 L ight in Winter Exhibition, Kirra Gallery, Melbourne VIC Public/Private Collections Bombay Sapphire Foundation, UK The Royal Melbourne Hospital, Melbourne VIC Australian of the Year Recipient Award Commission (2005-2013) City of Moreland Collection, Counihan Gallery, Brunswick VIC Monash University Art Collection, Berwick Campus, Monash University, Berwick VIC National Art Glass Collection, Wagga Wagga Art Gallery, Wagga Wagga NSW Private Collection of Her Majesty Queen Rania Al-Abdullah of Jordan Various Private Collections

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Awards/Grants 2012 Finalist, Ranamok Glass Prize, Australia

Tom Moore

2012 Travel Grant, Ian Potter Cultural Trust, Melbourne VIC Australia

Page 28

Richmond, SA

2012 Recipient – artVision 2012 Studio Glass Prize, Arts Council of Mansfield, Mansfield VIC Australia

Born 1971 Canberra, Australian Capital Territory, Australia

2011 Finalist, Ranamok Glass Prize, Australia

Education 1996 Traineeship in Glass Blowing, JamFactory, Adelaide SA

2010 Finalist, Libris Awards, Artspace Mackay, Mackay QLD Australia 2010 Finalist, Ranamok Glass Prize, Australia 2008 New Work Grant (Emerging Artist), Australia Council for the Arts, Australia 2007 Selected Entry, Jutta Cuny-Franz Memorial Award, Jutta Cuny-Franz Foundation, Dusseldorf North RhineWestphalia Germany 2006 Finalist, Bullseye E-merge, Bullseye Glass Company, Portland Oregon USA

1994 Bachelor of Visual Art (Glass) with Honours, School of Art, Australian National University, Canberra ACT

Awards/Grants 2013 Tom Malone Glass Prize, Art Gallery of Western Australia, Perth ACT Australia 2012 2nd Prize Sculpture and Objects, Waterhouse Natural History Art Prize, South Australian Museum, Adelaide SAÂ Australia 2009 New Work Grant (Established Artist), Australia Council for the Arts, Australia 2008 Project Assistance (Established Artist), Arts SA, Adelaide SA Australia 2006 New Work Grant (Established Artist), Australia Council for the Arts, Australia

Last Solo Exhibition 2011 H ybrid Vigour, Helen Gory Galerie, Prahran VIC Last Group Exhibition 2013 Tom Malone Prize, Art Gallery of Western Australia, Perth WA

2004 Craft-in-Site Grant, Craft Victoria, Melbourne VIC Australia

Public/Private Collections Art Gallery of South Australia, Adelaide SA

2004 Finalist, Ranamok Glass Prize, Australia

Art Gallery of Western Australia, Perth WA

2003 1st Prize, Student Exhibition, Ausglass, Fremantle WA Australia

Artbank, Sydney NSW

2003 Postgraduate Travel Grant, Monash University, Melbourne VIC Australia

Canberra Museum and Gallery, Canberra ACT

Australian National Gallery, Canberra ACT Powerhouse Museum, Sydney NSW Gallery of Modern Art, Queensland Art Gallery, Brisbane QLD National Art Glass Collection, Wagga Wagga Art Gallery, Wagga Wagga NSW Parliament House Art Collection, Canberra ACT Permanent Public Display, University of Wollongong, Wollongong NSW

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Finalists’ Biographies (continued) Richard Morrell Castlemaine, VIC

Page 30 Born 1953 London, Surrey, United Kingdom Education 1999 Master of Visual Arts (Glass), Monash University, Melbourne VIC 1979 Bachelor of Design (Glass) with Honours, Stourbridge School of Art, Stourbridge West Midlands UK Last Solo Exhibition 2008 A tavus, Kirra Gallery, Melbourne VIC Last Group Exhibition 2013 C icely and Colin Rigg Award, National Gallery of Victoria, Melbourne VIC Public/Private Collections Glasmuseet Ebeltoft, Ebeltoft Jutland Denmark Toho Corporation Collection, Japan

R

1995 Monash Graduate Scholarship, Monash University, Melbourne VIC Australia

Paddy Robinson

1993 Development Award, Australia Council for the Arts, Australia

Page 32

1991 Prizewinner, Ausglass Members Show, Ausglass, Sydney NSW Australia 1987 Development Award, Australia Council for the Arts, Australia 1985 Design Award, Gas and Fuel Corporation, Melbourne VIC Australia

Sofala, NSW Born 1944 Mullaghglass, County Armagh, Ireland Education 1986 Private Apprenticeship, Anne Dybka’s Studio, Sydney NSW 1965 Art Teacher’s Diploma, Belfast College of Art, Belfast Antrim UK 1964 College Diploma (Glass), Belfast College of Art, Belfast Antrim UK Last Solo Exhibition 2006 C ontained, Bathurst Regional Art Gallery, Bathurst NSW Last Group Exhibition 2013 F ocus, Glass Artists’ Gallery, Glebe NSW

Kerfoot Collection, Wagga Wagga Art Gallery, Wagga Wagga NSW

Public/Private Collections Powerhouse Museum, Sydney NSW

National Art Glass Collection, Wagga Wagga Art Gallery, Wagga Wagga NSW

The Glass Museum, Kamenický Šenov, Ceská Lípa Liberic Czech Republic

Public Collection, Museum of Art and Craft, Hamburg Germany

The University of Adelaide, Adelaide SA

State Collection, Art Gallery of Western Australia, Perth WA State Collection, National Gallery of Victoria, Melbourne VIC State Collection, Powerhouse Museum, Sydney NSW State Collection, Queensland Art Gallery, Brisbane QLD Various Private Collections

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Awards/Grants 2000 People’s Choice Award, RFC Glass Prize, Australia

The University of Western Sydney, Kingswood NSW Various Private Collections Awards/Grants 1974 Visual Arts Board Grant, Australia Council for the Arts, Sydney NSW Australia

Keith Rowe Blackheath, NSW

W

Page 34

Richard Whiteley

Born 1952 Auckland, New Zealand

Queanbeyan, NSW

Education 1981 Bachelor of Visual Arts (Glass and Photography), Sydney College of the Arts, University of Sydney, Sydney NSW Last Solo Exhibition 2012 J ewels, Red Hill Gallery, Brisbane QLD Last Group Exhibition 2012 P icturing Great Divides of Australia, Blue Mountains City Art Gallery, Katoomba NSW Public/Private Collections Powerhouse Museum, Sydney NSW Various Private Collections Awards/Grants 2000 Travel Grant to Kitengela Glass in Kenya, Australia Council for the Arts, Australia

Page 36 Born 1963 East Dean, East Sussex, United Kingdom Education 1992 Master of Fine Arts, University of Illinois, Urbana Illinois USA 1987 Bachelor of Visual Arts with Distinction, School of Art, Australian National University, Canberra ACT 1986 Cast Glass, Stanislav Libenský and Jaroslava Brychtová, Pilchuck Glass School, Stanwood Washington USA 1982 Apprenticeship in Commercial Stained Glass, Spectrum Studios, Berwick VIC Last Solo Exhibition 2013 M ass, Sabbia Gallery, Paddington NSW Last Group Exhibition 2013 L inks: Australian Glass and the Pacific Northwest, Tacoma Museum of Glass, Tacoma Washington USA

Palm Springs Art Museum, Palm Springs California USA The Art Trust, Melbourne VIC Victorian State Craft Collection, Melbourne VIC Contemporary Glass, Powerhouse Museum, Sydney NSW Winners Collection, Ranamok Glass Prize, Australia Awards/Grants 2013 Individual Project Grant, Australia Council for the Arts, Australia 2011 Finalist, Ranamok Glass Prize, Australia 2009 Finalist, Tom Malone Glass Prize, Art Gallery of Western Australia, Perth WA Australia 2009 Group Project Grant, Australia Council for the Arts, Australia 2006 Finalist, Ranamok Glass Prize, Australia 2006 Major Equipment Grant, Australian National University, Canberra ACT Australia 2005 Individual Project Grant, Australia Council for the Arts, Australia 2004 Finalist, Ranamok Glass Prize, Australia

Public/Private Collections Artbank, Sydney NSW

2004 Individual Project Grant, artsACT, Canberra ACT Australia

Australian National University, Canberra ACT

2003 Finalist, Ranamok Glass Prize, Australia

Corning Museum of Glass, Corning New York USA

2003 Mentorship Grant, Craft ACT, Canberra ACT Australia

Embassy of Australia, Washington District of Columbia USA

2001 Individual Project Grant, Australia Council for the Arts, Australia

Gallery of Modern Art, Queensland Art Gallery, Brisbane QLD

2000 Recipient, Ranamok Glass Prize, Australia

Hotel Murano, Tacoma Washington USA

1999 Finalist, Ranamok Glass Prize, Australia

National Gallery of Australia, Canberra ACT

1999 1st Prize, International Expo, Glass Art Society Conference, Tampa Florida USA

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Finalists’ Biographies (continued) 1999 Group Project Grant, Thomas Foundation Grant, Sydney NSW Australia

Awards/Grants 2013 Wanganui Arts Review (Highly Commended), Sarjeant Art Gallery, Wanganui Manawatu/Wanganui NZ

Diamond Valley Art Collection, Melbourne VIC

1995 Finalist, Ranamok Glass Prize, Australia

2012 3D Award Winner, Taranaki Art Awards, Taranaki NZ

Latrobe Regional Gallery, Morwell VIC

1994 Individual Project Grant, Australia Council for the Arts, Australia

2011 General Scholarship, Pilchuck Glass School, Stanwood Washington USA

1998 Individual Project Grant, Australia Council for the Arts, Australia

2011 Student Scholarship, Glass Art Society, Seattle Washington USA

Kathryn Wightman Manawatu/Wanganui, New Zealand

2007 Ph.D Research Grant, Arts & Humanities Research Council, Swindon Wiltshire UK

Meseu do Vidro da Marinha Grande, Marinha Grande Portugal Monash University, Melbourne VIC National Gallery of Australia, Canberra ACT National Gallery of Victoria, Melbourne VIC Artbank, Sydney NSW National Art Glass Collection, Wagga Wagga Art Gallery, Wagga Wagga NSW

Page 38 Born 1983 Newcastle upon Tyne, Tyne and Wear, United Kingdom

Maureen Williams

Various Private Collections

St Kilda, VIC

Education 2011 Ph.D. Research (Glass & Print), University of Sunderland, Sunderland Tyne and Wear UK

Page 40

Awards/Grants 2010 Finalist, Ranamok Glass Prize, Australia

Born 1952 Port Pirie, South Australia, Australia

2006 New Work Grant (Established Artist), Australia Council for the Arts, Australia

2005 Master of Arts (Glass), University of Sunderland, Sunderland Tyne and Wear UK

Education 1986 Bachelor of Arts (Ceramic Design, Hot Glass Major), Chisholm Institute of Technology, Melbourne VIC

2004 Bachelor of Arts (Glass and Ceramics), University of Sunderland, Sunderland Tyne and Wear UK Last Group Exhibition 2013 Wanganui Arts Review, Sarjeant Gallery, Wanganui Manawatu/Wanganui NZ Public/Private Collections Contemporary Glass Collection, Sunderland Museum, Sunderland Tyne and Wear UK

1971 Diploma of Business Studies, Royal Melbourne Institute of Technology, Melbourne VIC Last Solo Exhibition 2010 A ltered Views, New Work, Beaver Galleries, Canberra ACT Last Group Exhibition 2011 D iverse Interpretations of the Landscape, Kirra Galleries, Melbourne VIC Public/Private Collections Queensland Art Gallery, Brisbane QLD Art Gallery of South Australia, Adelaide SA Art Gallery of Western Australia, Perth WA City of Whitehorse, Melbourne VIC

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Die Neue Sammlung Museum, Munich Germany

2004 Finalist, Ranamok Glass Prize, Australia 2003 Finalist, Ranamok Glass Prize, Australia 2001 Finalist, Ranamok Glass Prize, Australia 1999 Grant to attend and participate in GAS Expo, Tampa, Florida, USA, Australia Council for the Arts and Thomas Foundation, Australia 1998 Full Scholarship, Pilchuck Glass School, Seattle Washington USA 1989 Glass Award, Mornington Peninsula Craft Event, Mornington VIC Australia

Melinda Willis Lyneham, ACT

Y

Page 42

Kayo Yokoyama

Born 1983 Brisbane, Queensland, Australia

Blackheath, NSW

Education 2010 Bachelor of Visual Arts with Honours, School of Art, Australian National University, Canberra ACT 2008 Bachelor of Visual Arts (Specialisation), University of South Australia, Adelaide SA Last Solo Exhibition 2012 Transference, Smokestack Gallery, Canberra Glassworks, Canberra ACT Last Group Exhibition 2013 E nsemble, National Art Glass Collection, Wagga Wagga Art Gallery, Wagga Wagga NSW Public/Private Collections Various Private Collections Awards/Grants 2013 Vikki Torr Memorial Prize for Excellence in Studio Glass, Ausglass, Melbourne VIC Australia 2012 New Work Grant (Emerging), Australia Council for the Arts, Australia 2012 ArtStart Grant, Australia Council for the Arts, Australia 2012 Young Artists’ Prize, Australian Decorative and Fine Arts Society, Canberra ACT Australia 2012 Project Funding, artsACT, Canberra ACT Australia

Page 44 Born 1969 Nagoya, Aichi, Japan Education 2012 Master of Fine Arts (Glass), Sydney College of the Arts, The University of Sydney, Sydney NSW 2001 Bachelor of Visual Arts (Glass) with Honours, Sydney College of the Arts, The University of Sydney, Sydney NSW Last Solo Exhibition 2012 H omeland, Red Hill Gallery, Brisbane QLD Last Group Exhibition 2013 L ost and Found in Translation, Wagga Wagga Art Gallery, Wagga Wagga NSW Public/Private Collections Hyatt Regency Hotel, Malate, Manilla Philippines Marriott Hotel, Dongcheng, Beijing China Awards/Grants 2013 Finalist, Sculpture Award, Scenic World, Katoomba NSW Australia 2012 Finalist, Director’s Cut, Blake Prize, Sydney NSW Australia 2012 People’s Choice Award and Packing Prize, Woollahra Small Sculpture Prize, Woollahra City Council, Sydney NSW Australia 2011 Tom Malone Glass Prize, Art Gallery of Western Australia, Perth WA Australia 2011 National Student Glass Art Prize, Wagga Wagga Art Gallery, Wagga Wagga NSW Australia 2011 Finalist, Ranamok Glass Prize, Australia 55

Glossary of Glass Terms Acid Etched The process of using acidic, caustic, or abrasive substances to create matt surfaces on glass.

Annealing The controlled cooling of glass in order to remove any strains that may have otherwise been ‘frozen’ into the object by rapid cooling.

Blown Glass The process of forming an object by inflating a glob of molten glass gathered on the end of a blowpipe. The glassblower or gaffer blows through the blowpipe, inflating the glob, which is then manipulated into the required form by swinging, rolling on a marver or shaping with tools.

Blowpipe A hollow, tapered metal tube, usually 1.3m long. The glassblower 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, the strength of the worker, 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 expansiontype glass required to bond to metals and for glass 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. Bullseye glasses are well known for reliable compatibility, meaning that it has the same or a similar rate of expansion.

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Cameo Glass A method of carving through fused layers of glass, which nearly always features a raised, positive image against a background of contrasting colour.

Cold Worked An all-embracing term for the various techniques carried out when the glass is cold, such as engraving, grinding, carving, cutting, etc.

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.

Copper Wheel Engraving A form of engraving where glass is shaped by a small copper wheel on a lathe. This engraving lathe uses spindles of various sizes to fit a variety of copper discs.

Carved Glass which has been cut or abraded into shape from a solid block. It can also refer to blown or cast glass which has been further shaped by cutting, abrading, nibbling and/or grinding.

Casting A process of shaping molten glass by pouring or melting it into a mould.

Cire Perdue An ancient technique traditionally used for the casting of bronze and precious metals.

The technique is now widely used for casting glass objects. The basic process involves 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 double boiler so that the wax melts and runs out. Glass is then melted into the space left by the wax to produce a replica of the original form.

Decals A plastic, cloth or paper material that has a pattern or image printed on it that can be moved to another surface upon contact, usually with the aid of heat or water.

Dichroic Refers to a colour that has been manufactured and coated with various chemicals to give specific properties in relation to the transmission or reflection of light; i.e. when two or more colours react according to variants of polarised light passing through.

Engrave To carve, cut or etch into a material.

Fibreglass A fibre-reinforced polymer made of a plastic matrix reinforced by fine fibres of glass.

Flameworking The process of forming glass objects from glass tubing and rod by heating in a flame from a torch. Also called lampworking.

Float Glass A type of flat polished transparent glass made by allowing the molten glass to harden as it floats on liquid of higher density.

Furnace The primary heating unit from where the glassblower gathers molten glass.

Fusing Heating pieces of glass in a furnace or kiln until they bond.

Hot Glass A generic term for glass working from the furnace.

Gaffer (English: corruption of ‘grandfather’) The master craftsperson in charge of a chair or team of hot glass workers.

Hot Worked or Sculpted A technique in which molten glass is gathered directly from the furnace on a punty and manipulated using specialised tools.

Gaffer Glass A New Zealand company that manufactures coloured crystal and blowing glass that is compatible with the majority of glasses used throughout Australasia.

Incalmo The technique of joining two or more sections of blown glass while hot.

Glass Blowing The shaping of molten glass by air pressure and manipulation.

Inclusions A collective term for bubbles, precious metal, glass particles and other materials that have been added to the internal layer of a glass object for decorative effect.

Glass Enamels Paint made of finely ground glass particles with a relatively low melting point which, once applied, are fired onto the glass using a kiln.

Glory Hole The furnace used to reheat glass on the blowpipe or punty.

Graal A technique, reputedly developed at the Orrefors factory, used 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 into a bubble and either left in this form or opened up into a bowl before being annealed. 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 blowpipe 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.

Intaglio Engraving Refers to any form of engraving which is cut or incised. It is now also generally accepted as referring to all designs that are engraved 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.

Kiln Forming The process of fusing or shaping (usually in or over a mould) by heating in a kiln.

Lost Wax A technique adapted from metalworking.

The object to be made in glass is modelled 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 by grinding, sandblasting or fire or acid polishing depending on the surface required.

Marvering The technique of rotating hot glass on a polished iron or marble slab to cool, control and centre on the blowpipe.

Melt Molten glass obtained by melting a batch of raw materials at one time.

Merletto A particular form of cane work.

Mould Blown The process of forming an object by inflating a glob of molten glass into a wooden or metal carved mould. In this way, the shape and the texture of the bubble of glass is determined by the design on the interior of the mould rather than the glassworker.

Laminated The joining together of layers of glass either by fusing or the use of adhesives.

Murrini A cross-cut piece of glass (with a design or colour pattern) used in the creation of larger glass works.

Lead Crystal Glass that contains a high percentage of lead oxide. It is relatively soft and has a high refractive index. Ideal for wheel cutting.

Obsidian Glass A usually black or banded, hard volcanic glass that displays shiny, curved surfaces when fractured. It is formed by rapid cooling of lava.

Overlay A layer of glass gathered over a layer of a different coloured glass.

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Glossary of Glass Terms (continued) Pâte de Verre (French: glass paste) A process that involves making a paste of powdered glass that is applied to a mould.

When fired, the particles melt and bond with each other creating a frosted or opaque glass that is rich in colour and texture.

Selective Laser Sintering An additive manufacturing technique that uses a high power laser to fuse small particles of plastic, metal, ceramic or glass powders into a mass that has a desired threedimensional shape.

Pâte de Crystal A technique that differs to pâte de verre in the particle size and composition of glass in the paste.

Sifted Glass To put glass through a sieve or other straining device in order to separate the fine from the coarse particles.

Polishing A cold working process where the glass object is smoothed by holding it against a rotating wheel fed with a fine abrasive, immersing it in acid or using a hot flame.

Sintered Glass To cause glass to form a coherent mass by heating without melting.

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 technique that produces a matt surface to achieve texture and decoration or to re-define a shape by sand-carving. An air compressor is used to propel sand or grit onto the object or surface. Pioneered by Val St Lambert in 1907.

Sandcasting A method of producing glass forms by pressing a form into damp sand to create an impression. When the form is removed, a negative space is left in which to pour the molten glass. The glass is then removed from the sand and annealed in a kiln in the usual manner.

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Slumping A process, generally done in a kiln, which uses heat and gravity to change the shape of a three dimensional form.

Spectrum Glass An American manufacturer of products for architecture, kiln forming and other glassworking arts.

Spin Cast A variation on an industrial centrifugal casting technique. The metal moulds normally used are 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.

Stained Glass Usually refers to coloured or painted glass used as a decorative element in windows.

These elements are generally joined with lengths of lead channeling.

Waterjet Cut The process of using a highly pressurised jet of water or a mixture of water and an abrasive substance to cut glass.

Wheel Cut The use of various types of abrasive wheels to produce a wide range of decorating facets and cuts.

The Judges Anne Flanagan

Gill Minervini

Brian Parkes

Anne Flanagan was appointed Deputy Director at the Art Gallery of New South Wales in 2010 having joined the Gallery in 1992. As Deputy Director she manages a large staff with responsibility for three key areas – exhibitions including programming and delivery plus exhibition publications and online resources; building services including major capital projects, most recently the award winning John Kaldor Family Gallery completed in 2011; and the off-site collection store completed in 2010 plus security and gallery services. Anne is a key player in the Gallery executive team and from January to June 2012 was Acting Director of the Art Gallery of New South Wales.

Gill is the Creative Director – Events for the City of Sydney, one of the largest producers of free public events in Australia and also runs her own creative consultancy, gillinc.

Brian Parkes has been Director of the JamFactory in Adelaide since April 2010 and is CEO and Artistic Director. He spent ten years prior to this as Associate Director and Senior Curator at Object: Australian Centre for Craft and Design. He curated several important exhibitions for Object including the landmark survey of contemporary Australian design – Freestyle: new Australian design for living. Parkes has written extensively on design and contemporary crafts and in 2009 co-curated Menagerie, a nationally touring survey exhibition of Aboriginal and Torres Strait Islander sculpture.

Prior to joining the Gallery, Anne worked for over a decade in key arts organisations including the 1986 and 1988 Biennale of Sydney, the Australian Bicentennial Authority, the Historic Houses Trust of NSW, the Powerhouse Museum and the Crafts Council of NSW.

With her own company, gillinc, Gill has most recently produced Winter Feast for MONA’s Dark MOFO Festival. She is also a creative consultant for many events, regularly presents on radio and TV and teaches Event Creation at UTS.

For the City, she is responsible for the creative direction and implementation of its major event program including Sydney Chinese New Year Festival, Art & About Sydney and Sydney’s Christmas Celebrations. Art & About Sydney is a month long festival that puts high profile art in unusual places and actively encourages public interaction with the art.

The Chinese New Year Festival is now the largest celebration of the Lunar New Year outside of mainland China.

In 2007 Parkes was one of ten curators invited by Phaidon Press, London to contribute to &Fork, a book profiling 100 emerging product designers from around the world and in 2008 he was an Adjunct Curator for the Museum of Arts and Design in New York.

Frank McBride Frank McBride has been director of a number of Australian art museums including: Brisbane City Gallery, Wollongong City Gallery and McClelland Regional Gallery. He was also CEO of the JamFactory, as well as the International Program Manager of the Visual Arts and Craft Board of the Australia Council for the Arts.

Frank has been a chairman of Craft Australia, The Australian Network for Art and Technology and The Regional Galleries Association of NSW. He has also served on the boards of Museums Australia, Artlink Magazine and the Australian Gallery Directors’ Council.

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2012 Recipient

Denise Pepper Punto in Aria (Stitches in Air) Pâte de verre 60 H x 35 W x 30 D cm

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Bayswater, Western Australia, Australia

My contemporary connotation of the ‘cape collar’ retains its historical elegance and homage as an heirloom. I have crafted pâte de verre lace in which glass frit captures the decoration and detail found in the intricate weave. The effect is delicate and complex.

Photographer: Christian Mushenko

Ranamok 2013 Tour Dates 14 August – 12 September 2013 Canberra Glassworks 11 Wentworth Avenue Kingston ACT 2604 02 6260 7005 www.canberraglassworks.com

11 – 15 November 2013 Foyer Riverside Centre 123 Eagle Street Brisbane QLD 4000 0400 019 734

23 September – 11 October 2013 Foyer Angel Place Office Tower 123 Pitt Street Sydney NSW 2000 0400 019 734 www.artandabout.com.au

24 November – 21 January 2014 Moree Plains Gallery 25 Frome Street Moree NSW 2400 02 6757 3320 http://www.moreeplainsgallery.org.au

31 January – 9 March 2014 Blue Mountains Cultural Centre 30 Parke Street Katoomba NSW 2780 02 4780 5410 http://bluemountainsculturalcentre.com.au

Associate Event of ‘Art & About Sydney 2013’, presented by the City of Sydney.

Underwriters of the 2013 Ranamok Glass Prize

Acknowledgements Ranamok Glass Prize Limited wishes to thank all our sponsors, judges, artists and the following: Board Members Maureen Cahill – Co-founder Damien Clarke Jacqueline Clayton Andy Plummer – Co-founder Deirdre Plummer Fundraising Andy Plummer

Underwriter XLX Pty Ltd Logistics Partner Grace Fine Art Ranamok 2013 Catalogue Essay Brian Parkes

Logistics Partner

Design | Dupree Design Group www.dupree.com.au Print | Lindsay Yates Group

Ranamok 2013 Catalogue Design and Production Dupree Design Group Administration Elizabeth MacDougall Assistants Polina Gavria James Graham Nick Hay

RANAMOK GLASS PRIZE 2013

Detail from Ranamok Glass Prize Winner 2013 Punto in Aria (Stitches in Air) by Denise Pepper Photography by Christian Mushenko

ISBN 978-0-9806576-4-7

www.ranamok.com

RANAMOK GLASS PRIZE 2013