RANAMOK GLASS PRIZE 2011
Underwriters of the 2011 Ranamok Glass Prize
RANAMOK GLASS PRIZE SPONSORS 2011
Contents The Ranamok Glass Prize 2011
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Introduction
4
Finalists
2
Masahiro Asaka
6
Jennifer Kemarre Martiniello
38
Annette Blair
8
Laurel Kohut
40
Kristel Britcher
10
Warren Langley
42
Lee Brogan
12
Kim Logue
44
Tillie Burden
14
Nikki Main
46
Christine Cathie
16
Kristin McFarlane
48
Brian Corr
18
Wayne Pearson
50
Samantha Cuffe
20
Anne Sorensen
52
Mel Douglas
22
Di Tocker
54
George Drobac Taniani
24
Emma Varga
56
Andrea Fiebig
26
Richard Whiteley
58
Brenden Scott French
28
Keryn Whitney
60
Alasdair Gordon
30
Clare Wilson
62
Rish Gordon
32
Nick Wirdnam
64
Sue Hawker
34
Kayo Yokoyama
66
Jenny Judge
36
Take T Yusuke
68
Finalists’ Biographies
70
Glossary of Glass Terms
80
The Judges
83
2010 Recipient
84
Ranamok 2011 Tour Dates
85
Acknowledgements
85
The Ranamok Glass Prize 2011 This is the final year for judges Tina Oldknow and Geoffrey Edwards. Both Tina and Geoffrey brought many years of important experience and very important perspectives to the process and this year’s exhibition (as well as the Ranamok Prize itself) is certainly much stronger for their input. Thank you both for your guidance. Louise Doyle also joined us this year as a judge. Louise has ‘done time’ as a judge with Ranamok back in 2000. Louise brings a wealth of experience, knowledge and perspective to the process. I would also like to take this opportunity to thank the Directors of Ranamok for their continued guidance. Over the past year, one of our founding directors, Jane Burns, decided to resign from the board. We thank Jane for her wise counsel over the years. Subsequent to Jane’s resignation, we asked one of our past judges, Jacqueline Clayton, if she was interested in filling the vacant board position and were delighted when she accepted our offer. The process of selecting this year’s finalists again went without a hitch thanks to the professionalism of our administrators, Elizabeth MacDougall and Peta Mount. The administration of the Prize and creation of the catalogue is a big job and requires skill and perseverance to do it properly...thanks and well done. The judging panel think that this year’s finalist exhibition looks very, very interesting. There are some surprising and exciting works in the exhibit, created by both emerging and established artists, and we are looking forward to seeing all of the works ‘in the flesh’ at the Canberra Glassworks in August. Andy Plummer
It is reassuring to see the continuous representation of both emerging and established artists. Often this flow is cyclic, ensuring an ever changing eclectic mix of works that present new views through the wide variety of concepts and disciplines in contemporary glass. Not all can appeal and yet so many will please, always ensuring room for exchange and inspiring debate. What is so important about the Prize is that it allows an annual focus on glass, initiating interest and exchange by people from all walks of life, stimulated by the diversity of works presented. I take this opportunity to once again thank all those who have contributed on so many levels to make this Prize the success it is today. Maureen Cahill Glass Artists’ Gallery Co-founder, Ranamok
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Introduction Thanks to the generosity of the people at Ranamok, notably Andy and Deirdre Plummer and Maureen Cahill, I was able to return for a second round of judging in 2011 with jurors Louise Doyle, Geoffrey Edwards, and Andy Plummer. Our time together, via Skype, was amiable and fun. My thanks go especially to Elizabeth MacDougall, Jo Little, and Peta Mount at Ranamok, who do so much organisational work on short deadlines, and to my hosts Ann Jakle and Clare Belfrage at the beautiful Canberra Glassworks, where I look forward to being very soon for the Ranamok opening. The group of Ranamok Prize applicants has always been a mix of well-known and little-known names in Australian and New Zealand glass, artists young and old, art school graduates and self-taught practitioners. This kind of mix is healthy, but this year I felt the absence of many of the better-known artists, who had not applied. Most of the 2011 applicants were new to me, and many had graduated within the last few years. Of course, well-established artists such as Warren Langley and Richard Whiteley did submit their work, perhaps more in support of Ranamok than anything else. Because they, like so many others, don’t really need Ranamok anymore and that, actually, is cause for celebration. After a couple of years as a juror on New Glass Review in Corning, I looked at the publication closely, because I wanted to know its history. (We are now going into New Glass Review’s thirty-third year.) In the early years, many well-known artists applied, and gradually, over time, their numbers dropped. Of course, the majority of those artists were not “household names” in glass in the early years but, over time, had built careers and attracted a following. And many early applicants had disappeared altogether, having stopped making work, perhaps, or having
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left glass for other materials. The same goes for Ranamok. Scrolling through the past lists of Ranamok finalists, I noticed a mix, as I mentioned, but I also observed that the trend of established artists dropping out had begun in earnest by 2006. In the case of New Glass Review, I concluded that it seemed to best serve artists who were in the process of embarking on professional careers. There are always the experienced professional artists who apply in support of New Glass Review—and hopefully to publish new work— just as with the Ranamok Prize. And then, there are the growing numbers of emerging artists. What this signals to me is that there is a generation of artists working in glass in Australia and New Zealand who have moved on from Ranamok. They are known and they have built careers; they may be struggling right now (as everyone is) but they are on their professional paths. And all of their students, whether in academic or other programs, are coming to the fore with their work, hoping to be noticed on the international stage that Ranamok has become. The most rewarding part of jurying for me, of course, is seeing new work by artists known and unknown to me. Warren Langley is someone whose work I know well, and he always impresses me with the high quality and originality of his projects. With his digital images, “encapsulated” in glass and lit from behind, Langley moves the field of photography in/with/on glass to a completely new place. Closed System (ocean) and Closed System (land) are related to Langley’s outdoor installations with remote source lighting, but they represent a different approach and level of control. In my opinion, these images are extraordinary and they fit in comfortably with mainstream contemporary photography (think of Richard Misrach, for example) as well as Land Art.
Other works exploring nature that intrigued me were Nikki Main’s observantly detailed Ash Stones, and Kristin McFarlane’s Genus Typographica. Each of McFarlane’s kiln-formed butterflies has non-natural details, such as superimposed images and text, which give the work a Victorian spirit of scientific documentation, but also a sense of passing time, and perhaps personal memories that might be attached to the insects. With its nested forms, Take T Yusuke’s Three Generations reminds me of some kind of animal skull or plant pod. Wayne Pearson’s portraits are very well known, but I was especially pleased that his pensive portrait of the artist Deb Jones made the cut. Pearson demonstrates that it is not enough to be accomplished in technique to make a vivid portrait: you have to really know what making a portrait means, whether it is in stone, wood, or painted on glass. Annette Blair’s Friday Afternoon is a very different type of work, a trompe l’oeil that evokes pleasant memories of visits over tea and coffee. Blair’s technique may be reminiscent of someone like Piero Fornasetti, but she deconstructs the figure in a way that is less decorative and more personal. All I need to say about Alasdair Gordon, who is also very well known, is that his work is consistently excellent, and that he has the uncommon ability of breathing new life into traditional themes. Having considered representations of people, I can now move to their possessions, which inspired the vessels by Sue Hawker and Jennifer Kemarre Martiniello. Hawker’s Joseph’s Ewer, of course, refers to Joseph’s coat of many colors, and her ewer is, well, just crazy in the best way possible, sassy, and humorous. In her Fish Traps, Martinello has created a novel opportunity for the reworking of the traditional Venetian filigrana technique, which she applies to an equally traditional, and even more ancient, form of aboriginal basketry.
Moving to more abstract representations, I was drawn to the organic shapes of Kristel Britcher, Samantha Cuffe, Emma Varga, and Clare Wilson. Britcher uses what look like occhi murrine cubes to form crystalline structures, while Wilson uses a common bowl to create a memorable, segmented insect- or plant-like ring. Cuffe uses silvering, which has become very trendy, in a thoughtful way that enhances the graceful shapes of her vessels. Varga, who is again no stranger in glass, has embarked on a new path in her work that is intriguing and rich in potential. From her green “growth” pieces of last year, she has turned to an exploration of white, which removes narrative and adds a minimalist quality to the work. Everything is connected, and the debt to nature of the minimalist works by Brian Corr, Mel Douglas, and Richard Whiteley is evident. The forms of the natural world, stripped down to their essences, are geometric, and in this group by three recognized artists, we have three variants of the circle. Douglas, always elegant, makes careful allusions to light and shadow, as does Corr, whose subtle treatments of white on white need careful lighting to be properly appreciated. Whiteley‘s sculptures can have the unusual and slightly disorienting quality of appearing both two-dimensional and three-dimensional, and their volumes may be unexpected. His forms are disciplined and reduced, yet they retain a complexity and sophistication that reflects Whiteley’s strong theoretical base. Tina Oldknow Curator of Modern Glass The Corning Museum of Glass
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Masahiro Asaka Surge 12 Cast and cold worked glass 32 H x 35 W x 50 D cm
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Curtin, Australian Capital Territory, Australia
Heat transforms the state of glass from solid to liquid. The mass of the glass inside the mould collapses under gravity and density increases as melting continues. My process allows the object to inherit both the beauty of the material as well as my desire to control it.
Photographer: Rob Little
Annette Blair Friday Afternoon Blown glass with glass enamels 60 H x 65 W x 9 D cm
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Queanbeyan, New South Wales, Australia
You could always tell what day it was when the teacups were laid out on her table with a passionfruit sponge cake. We spent a lot of our childhood around that table and in this piece I use the teacup as a symbol of time shared and memories made.
Photographer: Stuart Hay
Kristel Britcher Crystalline Compositions III, IV, V Blown, cold worked and hot joined glass 18 H x 18 W x 18 D cm 12 H x 10 W x 12 D cm 12 H x 12 W x 12 D cm
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Brompton, South Australia, Australia
The Crystalline Compositions are inspired by naturally occurring crystal formations. These compositions are constructed piece-by-piece to create a geometric structure that appears to have evolved naturally in its own time.
Photographer: Michael Haines
Lee Brogan Ficticious Shores P창te de verre, Japanese rice paper and ink
Kerikeri, Northland, New Zealand
A twist of rice paper emerges from a relic of a WWII grenade like a message in a bottle or a slow burning wick.
8 H x 54 W x 54 D cm Maybe it is a wreath for Hiroshima, Nagasaki, Fukushima. Maybe it asks a question... Why?
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Photographer: Lee Brogan
Tillie Burden Adam's Apple Blown, hot formed and engraved glass 24 H x 22 W x 22 D cm
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Copenhagen, Zealand, Denmark
In considering whether this body of ours is merely a container of sorts, might we ask what is at the heart of this vessel?
Photographer: Mikkel Mortensen
Christine Cathie O-void Cast lead crystal, acid etched and polished
Herne Bay, Auckland, New Zealand
From thick to thin, matt to shiny, fluidity and balance.
37 H x 67 W x 13 D cm
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Photographer: Christine Cathie
Brian Corr Beyond Light and Shadow Kiln formed, waterjet cut, cold worked and constructed glass 48 H x 79.5 W x 15.5 D cm
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Ainslie, Australian Capital Territory, Australia
I continually seek a deeper understanding of the world in which we exist and the nature of our experience within it. Working with the elements of volume and void, light and shadow, I create sculpture and large-scale installations which offer an opportunity for contemplative and meditative experience.
Photographer: Rob Little
Samantha Cuffe Warped Blown glass with mirrored interior 6 H x 14 W x 14 D cm 12 H x 21 W x 21 D cm 16 H x 21 W x 21 D cm
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Carlton, Victoria, Australia
Warped makes obvious the disconnect between our real selves and the reflections we perceive in the mirror. It plays with the subjectiveness of body image and allows its audience to question how they are seen within their environment. Its fluid form creates distortions and denies the spectator an ideal image.
Photographer: Christopher Sanders
Mel Douglas High Tide Blown, engraved and cold worked glass 27 H x 42 W x 42 D cm
O'Connor, Australian Capital Territory, Australia
The simplicity of my work suggests stillness and silence, a meditation on the elements and concepts of light, space and time. My recent work draws inspiration from the changes that occur within the landscape with the fading light, the quiet shadows that appear with the last light of day.
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Photographer: Stuart Hay
George Drobac Taniani
Perth, Western Australia, Australia
Point Black Fused and slumped spectrum glass and metal frame 107 H x 80 W x 37 D cm
Cosmic perfection of Circle and its relation to Genesis dot, are hypothetically presenting some kind of Metamorphosis into Living Being and its first step into the Great Unknown. Thankfully to our colour vision, Institution of Points is perceived as a perfectly arranged Chaos.
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Photographer: Tim Lofthouse
Andrea Fiebig Skin Blown and wheel cut glass 30 H x 10.5 W x 10.5 D cm
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Millswood, South Australia, Australia
Surprisingly, this simple vessel is a medium for me to explore ideas about skin and the appearance of form through the surface and the substance of glass. The techniques of murrini and wheel cutting are the means by which I do this.
Photographer: Mike Haines
Brenden Scott French
Kensington, South Australia, Australia
Tectonic Trace #2 Kiln formed glass 101 H x 91 W x 5 D cm
With geological timelines, natural formation and built structure gazed upon through material and technical tradition, Tectonic Trace #2 is an exploration into the vibrancy of new found relationships, of stumbling across particular blues that elevate with optimism and resolving hazardous compositions to sit convincingly within the frame.
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Photographer: Grant Hancock
Alasdair Gordon Ribbon Dance Blown, overlaid colour, copper wheel engraved glass 26.4 H x 13.2 W x 13.2 D cm
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Palmyra, Western Australia, Australia
Think for a minute what it means to carve a human figure on glass. Skin, hair and drapery is softened to a matt finish by the engraving wheel and flows one into another – a textural illusion.
Photographer: Kevin Gordon
Rish Gordon African Painted Dogs Blown, triple overlaid, sandblasted and engraved glass 19.5 H x 22 W x 22 D cm
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Palmyra, Western Australia, Australia
African Painted Dogs are little known and have been hunted by man almost to extinction. I have mapped out the animals by sandcarving through layers of colour, then engraving the details to add texture. I used their expressions and patterns of their coats to create an allover pattern.
Photographer: Kevin Gordon
Sue Hawker Joseph's Ewer Pâte de verre 50 H x 45 W x 30 D cm
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Kerikeri, Northland, New Zealand
Legend suggests that after Joseph’s Dream Coat was taken from him, a slave woman unpicked the rough yarn and wove it into an exotic ewer, a vessel in which only dreams could ever be stored. In my own dreams, this is how I visualise Joseph’s Ewer.
Photographer: Ron Hawker
Jenny Judge Discarded Kiln formed, cold worked, hand and acid polished glass with metal castors 23 H x 16 W x 23 D cm
Titirangi, Auckland, New Zealand
This moving vessel uses antique metal castors to help it along. By replacing its worn parts with found objects the vessel develops a new purpose, and saves itself from being discarded once again.
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Photographer: Jenny Judge
Jennifer Kemarre Martiniello
Rivett, Australian Capital Territory, Australia
Fish Trap 4 Blown glass with canes 62 H x 22 W x 22 D cm
Fish Trap 8 Blown glass with canes 75.5 H x 22 W x 22 D cm
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This work, by Aboriginal artist Jenni Kemarre Martiniello, was inspired by traditional Aboriginal reed-constructed fish traps from Northern Australia. Its organic shape mirrors that of traditional fish traps, which were bound with grass twine coated in resin. The artist gratefully acknowledges the support of the Canberra Glassworks and the Thomas Foundation.
Photographer: Belinda Morgan-Pratten
Laurel Kohut Part of a Pair Blown, cold worked and assembled glass 10 H x 60 W x 10 D cm
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Bentleigh, Victoria, Australia
Objects of courtship and romance bring forth many emotional memories. They intrigue and delight, yet also are strong reminders of loss. Hanging near the soft perfumed skin of the neck, the earring assists in rituals of courtship and seduction. Like the earring, we desire to become part of a pair.
Photographer: Andrew Barcham
Warren Langley Closed System (ocean) image: Idiz/Shutterstock Encapsulated digital image in glass with selective rear light construction
Queenscliff, New South Wales, Australia
Closed Systems use images of profound natural beauty embedded with lighting constructions to comment on the delicate balance of our own planetary closed system.
160 H x 140 W x 6 D cm
Closed System (land) image: Richard Glover Encapsulated digital image in glass with selective rear light construction
They address the essence of glass as a material. Only glass in conjunction with this embedded digital image can allow transmission of light to contrived locations.
160 H x 140 W x 6 D cm
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Photographer: Craig Bryant
Kim Logue Exposed Cast glass with nail inclusions 30 H x 30 W x 30 D cm
Kerikeri, Northland, New Zealand
Every hardship Each painful loss I weave my cloak My protective armour Until I've become unrecognisable My life's journey stopped Simply forgotten Shields wear thin Fractures appear Remembering that It's ME who matters Spilled my guts Exposed my soul Restart my journey Wearing stylish clothes
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Photographer: Ron Hawker
Nikki Main Ash Stones Blown glass 15 H x 34 W x 15 D cm 13 H x 18 W x 16 D cm 10 H x 19 W x 19 D cm
Weston, Australian Capital Territory, Australia
How easily our country burns, leaving a denuded landscape with little visible but ash and stones. Rivers are bared and water falling as rain asserts great erosive power. In my stone-like pieces, I use glass powders on the outside layer, drawing the eye to the skin of the forms.
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Photographer: Stuart Hay
Kristin McFarlane Genus Typographica Kiln formed and cold worked glass, silver leaf, decals and printed inclusions 34.8 H x 77.8 W x 2.1 D cm
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West Essendon, Victoria, Australia
This piece suggests an attempt at analysing, documenting and categorising the transience of memory through the use of images of fragility and treasured fragments of text.
Photographer: Ruby Studio
Wayne Pearson Deb Jones Reverse painted glass enamels 60 H x 60 W x .6 D cm
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Lane Cove, New South Wales, Australia
This is one of a series of portraits painted for my Voices in the Glass series. Deb is a glass artist working as Studio Designer at the JamFactory, Adelaide. Deb was a founding member of the Blue Pony Studio and operates her own individual practice now based at Studio 8.
Photographer: Marina Bishop
Anne Sorensen Imbalance in Red Kiln formed glass 5.5 H x 35.5 W x 35.5 D cm
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Bouvard, Western Australia, Australia
For me there is an instinct to create order from chaos. I have tried to achieve a harmonious result from an asymetric object. Creating brief glimpses of clarity. This apparently simple piece is created from a great many pieces.
Photographer: Kerina Puttman
Di Tocker Stick to Your Knitting Flameworked borosilicate glass rods, found glass beads and mono-filament nylon 200 H x 145 W x 25 D cm
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Ohaupo, Waikato, New Zealand
With Stick to Your Knitting, I aim to make comment about losing time-honored and treasured skills such as knitting and other home-making crafts. Will these skills get lost as generations move on?
Photographer: Grace Carson
Emma Varga
Collaroy, New South Wales, Australia
White - Frost Fused elements, cast, ground and polished glass
This year my work is marked by an increased fascination with (colour) white.
10 H x 50 W x 50 D cm
Inspiration comes from various sources, some of them as disparate as forests frozen during the harsh winters of continental Europe and the magnificent rounded panicles of the tiny soft white flowers of the Lemon Myrtle.
White - Soft Fused and cut glass elements assembled in stainless steel tray 8 H x 48 W x 48 D cm
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Photographer: Emma Varga
Richard Whiteley Cone and Plane Cast and carved glass 47 H x 47 W x 14.5 D cm
Queanbeyan, New South Wales, Australia
The works are built from the inside out; voids are ordered first and structures are built to encapsulate these spaces. The works explore space; using glass as a substrate activated by light. The material qualities of glass are the agents within the work that create the dialogue between voids and solids.
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Photographer: Greg Piper
Keryn Whitney Destruct; Construct Blown, deconstructed, flameworked and kiln formed glass 22 H x 25 W x 22 D cm
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Hastings, Hawkes Bay, New Zealand
Many “chefs” take their inspiration from deconstructing classical dishes. Taking the ingredients and re-inventing them into a “new“ classic – so why not glass? In this piece blown glass was cut then individually flame worked, constructed into shape and kiln fired.
Photographer: Sonya Lethbridge
Clare Wilson Connected Blown, cut, fused and sandblasted glass 35 H x 35 W x 13 D cm
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Kensington Park, South Australia, Australia
This work was inspired by the idea of a bowl without function and by the idea of glass objects supporting one another despite the fragility of the material. Each piece is joined to another to support and create the whole finished object; without each piece it could not exist.
Photographer: Clare L Wilson
Nick Wirdnam A Preserved Wish Blown and hot sculpted glass
Superstition is an irrational belief or notion.
18 H x 11 W x 11 D cm
However I am not prepared to discount it as there may possibly be some truth to it.
Brighton, Victoria, Australia
So I should accumulate as much of this intangible resource as I can to increase whatever hope these objects offer for my future security.
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Photographer: David McArthur
Kayo Yokoyama Homeland - Among Trees Blown and engraved glass, enamels and metal 42 H x 42 W x 42 D cm
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Blackheath, New South Wales, Australia
The chair represents where I belong; homeland is a place I search for. Whilst I am sitting among trees, I am in my homeland.
Photographer: Ona Janzen
Take T Yusuke Three Generations Blown and cold worked glass 22 H x 50 W x 22 D cm
Ashfield, New South Wales, Australia
This work is inspired by the power of people to overcome incredible obstacles in their lives. Through the use of various forms, multiple layers and unshapen holes in clear glass, my intention is to express the continuity of people’s lives over generations as deep-rooted flowers and strong, united hearts.
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Photographer: Yusuke Takemura
Finalists’ Biographies
A Masahiro Asaka Curtin, ACT
Page 6 Born 1979 Funabashi City, Chiba Prefecture, Japan Education 2008 Master of Arts (Visual Arts), School of Art, Australian National University, Canberra ACT 2005 Post Graduate Diploma of Art (Visual), School of Art, Australian National University, Canberra ACT Last Group Exhibition 2010 Mind and Matter, JamFactory, Adelaide SA Public/Private Collections Kaplan/Ostergard Glass Collection, Palm Springs Art Museum, Palm Springs California USA
Last Group Exhibition 2011 Glimpse, Chalk Horse Gallery, Surry Hills NSW Public/Private Collections Various Private Collections Awards/Grants 2011 Silvano Tagliapietra Scholarship, Pilchuck Glass School, Seattle Washington USA 2011 Travel Grant artsACT, Canberra ACT 2011 Finalist, Ranamok Glass Prize, Australia
2010 JamFactory Scholarship, Australian Decorative and Fine Art Society (ADFAS), Adelaide SA 2010 Viridian Glass Prize, Walker Street Gallery, Dandenong VIC 2010 Janet Holmes Ă Court Artists' Grant, National Association for Visual Artists (NAVA), Sydney NSW 2009 Carclew Youth Arts Project Development Grant, Carclew Youth Arts, Adelaide SA 2008 Fleurieu Youth Scholarship Prize, Country Arts SA, Adelaide SA
2006 Finalist, Ranamok Glass Prize, Australia
Lee Brogan
2004 Finalist, Ranamok Glass Prize, Australia
Kerikeri, New Zealand
Page 12
Kristel Britcher Brompton, SA
Awards/Grants 2011 Finalist, Ranamok Glass Prize, Australia
Born 1986 Adelaide, South Australia, Australia
B
Education 2010 - present Glass Studio Associate, JamFactory, Adelaide SA
Annette Blair Page 8
2007 Bachelor of Visual Arts (Glass) with Honours, South Australian School of Art, University of South Australia, Adelaide SA
Born 1982 Queanbeyan, New South Wales, Australia
Last Solo Exhibition 2010 Cumulus, Seedling Art Space, Adelaide SA
Education 2007 Glass Studio Associate, JamFactory, Adelaide SA
Last Group Exhibition 2011 Annual Manual: A Guide to Australian Design Now, Object: Australian Centre for Craft and Design, Sydney NSW
2004 Bachelor of Visual Arts (Glass) with Honours, School of Art, Australian National University, Canberra ACT
Awards/Grants 2011 Finalist, Ranamok Glass Prize, Australia
2008 Finalist, Ranamok Glass Prize, Australia
State Collection, Art Gallery of South Australia, Adelaide SA
Queanbeyan, NSW
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Last Solo Exhibition 2007 Preserves, JamFactory Atrium Gallery, Adelaide SA
Page 10
Public/Private Collections Various Private Collections
Born 1963 Takapuna, Auckland, New Zealand Education 2007 Bachelor of Applied Arts, Northtec, Kerikeri Northland NZ Last Solo Exhibition 2010 Full Fathom Five, Gravel Contemporary Art, Kerikeri Northland NZ Last Group Exhibition 2010 Wallace Art Awards, The James Wallace Arts Trust Auckland, Auckland NZ Public/Private Collections The James Wallace Arts Trust Auckland, Auckland NZ Awards/Grants 2011 Finalist, Ranamok Glass Prize, Australia 2008 Winner, Molly Morpeth Canaday Glass Prize, Whakatane Bay of Plenty NZ 2005 Finalist, Ranamok Glass Prize, Australia
Tillie Burden Copenhagen, Denmark
Page 14 Born 1982 Murwillumbah, New South Wales, Australia
Last Solo Exhibition 2011 Evolve, Koru Contemporary Art, Aberdeen Hong Kong Last Group Exhibition 2011 Geometry, Sabbia Gallery, Sydney NSW Public/Private Collections Glasmuseet Ebeltoft, Ebeltoft Denmark
Brian Corr Ainslie, ACT
Pages 18 Born 1976 Denver, Colorado, United States Education 2007 Master of Visual Arts (Glass), School of Art, Australian National University, Canberra ACT
Education 2010 Bachelor of Fine Arts (Glass), Danish Design School, Nexø Bornholm Denmark
Ministry of Foreign Affairs, Wellington NZ
2009 Exchange Program, Kosta Glass School, Kosta Smaland Sweden
Awards/Grants 2011 Finalist, Ranamok Glass Prize, Australia
Last Solo Exhibition 2010 Of Silence and Light, Canberra Glassworks, Canberra ACT
2004 Bachelor of Fine Arts (Glass), Monash University, Melbourne VIC
2008 Finalist, Molly Morpeth Canaday Glass Awards, Whakatane NZ
Last Group Exhibition 2011 Miniatures, Workshop Bilk, Canberra ACT
Last Solo Exhibition 2011 Assembly Point, Gallery Olsen, Copenhagen Vesterbro Denmark
2008 3rd Prize, Lincoln Green Sculpture Award, Waitakere Trust Art Awards, Waitakere City Auckland NZ
Public/Private Collections Art Gallery of Western Australia, Perth WA
Last Group Exhibition 2011 Made By Me, S12 Gallery, Bergen Norway
2007 Creative Excellence Award, Molly Morpeth Canaday Glass Awards, Whakatane NZ
Public/Private Collections Glassmuseet Ebeltoft, Ebeltoft Denmark Awards/Grants 2011 Finalist, Ranamok Glass Prize, Australia
Private Collection of Sir Elton John Various Private Collections
2007 2nd Prize, Luminous Art of Glass Awards, Mazda Artworks, Auckland NZ 2006 Finalist, Ranamok Glass Prize, Australia
2010 New Work Grant, Oticon Foundation, Copenhagen Zealand Denmark
2004 Members Award, New Zealand Society of Artists in Glass, Conference Exhibition, Wanganui NZ
C
2004 Finalist, Ranamok Glass Prize, Australia
Christine Cathie
2003 Grant, Creative New Zealand, Wellington NZ
Herne Bay, New Zealand
2003 Finalist, Ranamok Glass Prize, Australia
Page 16
2002 Student Award, New Zealand Society of Artists in Glass, Conference Exhibition, Wanganui NZ
Born 1955 Wellington, New Zealand Education 2000 Glass Sculpture Workshop, Artstation, Auckland NZ
Australian National University, Canberra ACT National Art Glass Collection, Wagga Wagga Art Gallery, Wagga Wagga NSW Awards/Grants 2011 Artist in Residence, The Thomas Foundation and the Canberra Glassworks, Canberra ACT 2011 Finalist, Ranamok Glass Prize, Australia 2010 New Work Grant, Australia Council for the Arts, Sydney NSW 2010 New Work Grant, artsACT, Canberra ACT 2007 Distinguished Talent Visa, Department of Immigration, Canberra ACT
2002 Finalist, Norsewear Art Awards, Waipukurau NZ 2002 Finalist, Ranamok Glass Prize, Australia
1999 Glass Sculpture Workshop, Artstation, Auckland NZ 71
Finalists’ Biographies (continued) Samantha Cuffe Carlton, VIC
Page 20 Born 1980 Melbourne, Victoria, Australia Education 2010 Bachelor of Fine Arts (Glass) with Honours, Monash University, Melbourne VIC 2009 Bachelor of Visual Arts (Glass), Monash University, Melbourne VIC Last Group Exhibition 2011 Media Specific, Monash University Faculty Gallery, Melbourne VIC
Public/Private Collections Various Private Collections
Last Group Exhibition 2011 Geometry, Sabbia Gallery, Sydney NSW
Awards/Grants 2011 Finalist, Ranamok Glass Prize, Australia
Public/Private Collections Corning Museum of Glass, Corning New York US
2009 Finalist, Ranamok Glass Prize, Australia
National Gallery of Australia, Canberra ACT
F
Cincinnati Art Museum Collection, Cincinnati Art Museum, Cincinnati Florida US
Andrea Fiebig
National Art Glass Collection, Wagga Wagga Art Gallery, Wagga Wagga NSW
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Winners Collection, Ranamok Glass Prize, Sydney NSW
Awards/Grants 2011 Finalist, Ranamok Glass Prize, Australia
Awards/Grants 2011 Finalist, Ranamok Glass Prize, Australia
2010 Glass Plus Gallery Award, Monash University, Melbourne VIC
2010 Finalist, Tom Malone Glass Prize, Art Gallery of Western Australia, Perth WA
2010 Golden Key Visual and Performing Arts Achievement Award, Golden Key International Honour Society, Melbourne VIC
2007 Young Glass Award, Glassmuseet Ebeltoft, Ebeltolf Denmark
2009 DW Rogers Award, Monash University, Melbourne VIC
2001 Finalist, Ranamok Glass Prize, Australia
2009 Kirra Gallery Award, Monash University, Melbourne VIC
2002 Recipient, Ranamok Glass Prize, Australia
2000 Finalist, Ranamok Glass Prize, Australia 1999 Finalist, Ranamok Glass Prize, Australia
Millswood, SA Born 1983 Berlin, Germany Education 2010- present Glass Studio Associate, JamFactory, Adelaide SA 2006 Bachelor of Fine Arts with Honours, Monash University, Caulfield VIC 2001 Certificate IV in Applied Art and Design, Yarra Valley Grammar School, Melbourne VIC Public/Private Collections Various Private Collections Awards/Grants 2011 Finalist, Ranamok Glass Prize, Australia
2009 Yarra Art Award, Australian Fine Arts and Decorative Society, Melbourne VIC
1998 Finalist, Ranamok Glass Prize, Australia
D
George Drobac Taniani
Kensington, SA
Perth, WA
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Page 24
Born 1969 Toowoomba, Queensland, Australia
Mel Douglas O'Connor, ACT
Page 22 Born 1978 Burnie, Tasmania, Australia
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Last Solo Exhibition 2011 half-light, Beaver Galleries, Canberra ACT
Education 2000 Bachelor of Fine Arts with Honours, School of Art, Australian National University, Canberra ACT
Brenden Scott French
Born 1964 Blace, Serbia and Montenegro Education 1989 Graphic Art Design for Newspapers and Publications (Technical Editing), Yugoslav Institute of Journalism, Belgrade, Serbia and Montenegro
Education 2003 Bachelor of Visual Arts (Glass) with Honours, School of Art, Australian National University, Canberra ACT 1999 Glass Studio Associate, Jamfactory, Adelaide SA
1997 Bachelor of Visual Arts (Glass), Sydney College of the Arts, The University of Sydney, Sydney NSW Last Solo Exhibition 2011 Open Negative, Sabbia Gallery, Sydney NSW Last Group Exhibition 2011 Master Glass, BMGART, Adelaide SA Public/Private Collections Private and Public Collections Awards/Grants 2011 Independent Makers and Presenters, Professional Development Assistance, Arts SA, Adelaide SA 2011 Finalist, Ranamok Glass Prize, Australia 2009 Independent Makers and Presenters, Professional Development Assistance, Arts SA, Adelaide SA 2009 Finalist, Ranamok Glass Prize, Australia 2008 Finalist, Ranamok Glass Prize, Australia 2007 The Stephen Procter Fellowship, School of Art, Australian National University, Canberra ACT
G
Rish Gordon
Alasdair Gordon
Page 32
Palmyra, WA
Born 1935 Carlisle, Cumbria, United Kingdom
Page 30 Born 1931 Edinburgh, United Kingdom Education 1957 Diploma in Design and Crafts, Edinburgh College of Art, Edinburgh Midlothian UK Last Group Exhibition 2011 Glass Shadows, The Gordon Family, Wagga Wagga Art Gallery, Wagga Wagga NSW Public/Private Collections City of Melville Collection, Melville WA Murdoch University Art Collection, Murdoch WA National Art Glass Collection, Wagga Wagga Art Gallery, Wagga Wagga NSW Various Private and Corporate Commissions
Palmyra, WA
Last Solo Exhibition 2011 Glass Shadows, The Gordon Family, Wagga Wagga Art Gallery, Wagga Wagga NSW Public/Private Collections Australian National Gallery, Canberra ACT Commision for HRH Prince Philip National Art Glass Collection, Wagga Wagga Art Gallery, Wagga Wagga NSW Private Collection of Bill Clinton Awards/Grants 2011 Finalist, Ranamok Glass Prize, Australia 1980 York Society Glass Award, York Society, York WA
H
2007 Artist in Residence, Northlands Creative Glass, Lybster Caithness UK
Awards/Grants 2011 Finalist, Ranamok Glass Prize, Australia
2007 Artist in Residence, Canberra Glassworks, Canberra ACT
2010 Finalist, Ranamok Glass Prize, Australia
Kerikeri, New Zealand
2009 York Society Glass Award, York Society, York WA
Page 34
2007 Finalist, Ranamok Glass Prize, Australia 2003 Finalist, Ranamok Glass Prize, Australia 2002 Finalist, Ranamok Glass Prize, Australia 2000 Finalist, Ranamok Glass Prize, Australia
2007 Nominated, Living Treasures: Master of Australian Craft, Object: Australian Centre for Craft and Design, Sydney NSW 1999 York Society Glass Award, York Society, York WA 1998 York Society Glass Award, York Society, York WA 1981 Fellow, The Guild of Glass Engravers London, London UK
Sue Hawker
Born 1948 Christchurch, Canterbury, New Zealand Education 2004 Selected papers, Bachelor of Applied Visual Arts, NorthTec, Kerikeri Northland NZ Last Solo Exhibition 2011 Florescentia, Milford Gallery, Queenstown Otago NZ Last Group Exhibition 2011 COLLECT, Saatchi Gallery, London UK
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Finalists’ Biographies (continued) Public/Private Collections Various Private Collections
Awards/Grants 2011 Finalist, Ranamok Glass Prize, Australia
Winners Collection, Ranamok Glass Prize, Sydney NSW
2010 Runner Up, Bizarre Bra Section, Montana World of Wearable Art, Wellington NZ
Awards/Grants 2011 Finalist, Ranamok Glass Prize, Australia 2010 Recipient, Ranamok Glass Prize, Sydney NSW 2009 Finalist, Ranamok Glass Prize, Australia
J Jenny Judge Titirangi, New Zealand
Page 36 Born 1961 Toronto, Ontario, Canada Education 2004 Kiln Cast Glass Course, Artstation, Auckland NZ 1995 Bachelor of Art Education, University of British Columbia, Vancouver British Columbia Canada 1992 Master of Fine Art (Sculpture), University of Minnesota, Minneapolis Minnesota US 1983 Bachelor of Fine Art (Sculpture and Printmaking), Queen's University, Kingston Ontario Canada Last Solo Exhibition 2009 Migrations, Corban Estate for the Arts, Henderson Auckland NZ Last Group Exhibition 2010 Vancouver 2010: Unity and Diversity, Vancouver Museum, Vancouver British Columbia Canada Public/Private Collections Canada Council Artbank, The Canada Council for the Arts, Ottawa Ontario Canada Various Private Collections 74
2007 Full Tuition Scholarship, University of British Columbia, Vancouver British Columbia Canada 2006 Curator's Choice Award in Transform/ Translate/Transmit, British Columbia Glass Art Association, Vancouver British Columbia Canada 2005 Best in Show, British Columbia Glass Art Association, Vancouver British Columbia Canada
1985 Bachelor of Visual Arts (Sculpture), School of Art, Australian National University, Canberra ACT Last Solo Exhibition 2011 Entrapped, Canberra Contemporary Art Space, Canberra ACT Last Group Exhibition 2011 Waterhouse Natural History Art Prize, South Australian Museum, Adelaide SA Public/Private Collections Canberra Hospital, Canberra ACT Department of Agriculture Forestry and Fishery, Canberra ACT National Museum of Australia, Canberra ACT
1998 Award of Merit, Nakano International Art Exhibition for the Olympics, Nagano Japan
National Museum of Belau, Koror Palau Palau
K
Various Private Collections
Jennifer Kemarre Martiniello Rivett, ACT
Page 38 Born 1949 Adelaide, South Australia, Australia Education 2008-present Glass Blowing, Kiln Forming, Cold Work, Flamework and Casting Workshops, Canberra Glassworks, Canberra ACT 2005 Certificate IV Printmaking (Garma Significant Indigenous Artists), Charles Darwin University, Darwin NT 2003 Certificate IV Indigenous Arts and Fashion Design, Canberra Institute of Technology, Canberra ACT 1994 Honours Degree (Philosophy), Australian National University, Canberra ACT
Aboriginal and Torres Strait Islander Health ACT, Indigenous Health Unit, Canberra ACT
Awards/Grants 2011 Thomas Foundation Artist in Residence, Canberra Glassworks, Canberra ACT 2011 ACT Women's Honour Roll, ACT Office of Women, Canberra ACT 2011 Finalist, Ranamok Glass Prize, Australia 2010 ACT International Women's Day Award, ACT Office of Women, Canberra ACT 2009 Artist of the Year, ACT NAIDOC Committee, Canberra ACT 2003 ACT Creative Arts Fellowship, ACT Government, Canberra ACT
Laurel Kohut Bentleigh, VIC
Page 40 Born 1981 Melbourne, Victoria, Australia
Education 2003 Glass Studio Associate, JamFactory, Adelaide SA
Last Group Exhibition 2011 Trans Cendencia, Museo do vidro, Marinha Grande Portugal
1999 Bachelor of Applied Arts (Glass) with Honours, Monash University, Melbourne VIC
Public/Private Collections Various Public and Private Collections
Last Solo Exhibition 2007 Home Remedies, JamFactory Collectors Space, Adelaide SA Last Group Exhibition 2011 Memories and Mementos, Kirra Galleries, Melbourne VIC Awards/Grants 2011 Finalist, Ranamok Glass Prize, Australia 2010 Finalist, Ranamok Glass Prize, Australia 2006 Project Assistance Grant, South Australian Youth Arts Board, Adelaide SA 2005 Dame Nancy Buttfield Award, Ayers House, Adelaide SA 2004 Project Assistance Grant, South Australian Youth Arts Board, Adelaide SA 2004 Finalist, Ranamok Glass Prize, Australia 2002 Finalist, Ranamok Glass Prize, Australia
L Warren Langley Queenscliff, NSW
Page 42 Born 1950 Sydney, New South Wales, Australia Education 1972 Bachelor of Science with Honours, University of Sydney, Sydney NSW Last Solo Exhibition 2009 New Work, Australian Galleries, Sydney NSW
Awards/Grants 2011 Finalist, Ranamok Glass Prize, Australia 2010 Finalist, Art in the Workplace, International Architecture Symposium, Barcelona Spain 2002 New Work Grant (Established Artist), Australia Council for the Arts, Sydney NSW 1994 Fellowship, Australia Council for the Arts, Sydney NSW
Kim Logue Kerikeri, New Zealand
Page 44 Born 1963 Auckland, New Zealand Education 2010- present Bachelor of Applied Arts, Northtek, Kerikeri Northland NZ Last Group Exhibition 2011 Glass, Royal New Zealand Easter Show, Auckland NZ
M Nikki Main Weston, ACT
Page 46 Born 1959 London, United Kingdom Education 2011 Masterclass with Nick Mount (Glass Blowing), Canberra Glassworks, Canberra NSW 2008 Bachelor of Fine Arts (Glass) with Honours, School of Art, Australian National University, Canberra ACT 2006 Workshop with Jiri Harcuba and Martin Rosiol (Cold Working and Engraving), Corning Glass Museum, Corning New York US 2005 Workshop with Giles Bettison (Murrini), JamFactory, Adelaide SA Last Group Exhibition 2011 Drink, Canberra Glassworks, Canberra ACT Public/Private Collections Various Private Collections Waterhouse Art Prize Winner Collection, South Australia Museum, Adelaide SA
Public/Private Collections Various Private Collections
Awards/Grants 2011 Finalist, Ranamok Glass Prize, Australia
Awards/Grants 2011 Finalist, Ranamok Glass Prize, Australia
2010 Overall Winner, Waterhouse Art Prize, South Australia Museum, Adelaide SA 2009 Highly Commended, Waterhouse Art Prize, South Australia Museum, Adelaide SA 2008 Emerging Artist Support Scheme Residency Award, Canberra Glassworks, Canberra ACT 2008 Second Prize, Weereewa Works on Paper, Bungendore Woodworks Gallery, Bungendore NSW 75
Finalists’ Biographies (continued) 2008 Finalist, ANU Drawing Prize, Australian National University, Canberra ACT
Private Collection of Her Majesty Queen Rania Al-Abdullah of Jordan Amman Jordan
2007 Emerging Artist Support Scheme Honours Scholarship, Australian National University, Canberra ACT
Various Private Collections
2007 Finalist, ANU Drawing Prize, Australian National University, Canberra ACT
2010 Finalist, Libris Awards, Artspace Mackay, Mackay QLD
1983 Bachelor of Education (Art), College of Fine Arts, University of New South Wales, Sydney NSW
Kristin McFarlane
2010 Finalist, Ranamok Glass Prize, Australia
1971 Diploma of Visual Arts Education, Alexander Mackie Teachers College, Sydney NSW
West Essendon, VIC
2008 New Work Grant (Emerging Artist), Australia Council for the Arts, Sydney NSW
Last Solo Exhibition 2006 Avalon, Touch, Icarus and the Moon, Glass Artists' Gallery, Sydney NSW
2007 Selected Entry, Jutta Cuny-Franz Memorial Award, Jutta Cuny-Franz Foundation, Dusselforf Germany
Last Group Exhibition 2011 Doug Moran Portrait Prize, Mitchell Library Gallery, Sydney NSW
2006 Finalist, Bullseye E-merge, Bullseye Glass Company, Portland US
Awards/Grants 2011 Finalist, Ranamok Glass Prize, Australia
2001 Graduate Diploma (Glass), Monash University, Melbourne VIC
2004 Craft-in-Site Grant, Craft Victoria, Melbourne VIC
2010 Finalist, Ranamok Glass Prize, Australia
1993 Bachelor of Arts (Graphic Design), Monash University, Melbourne VIC
2004 Finalist, Ranamok Glass Prize, Australia
Page 48 Born 1968 Melbourne, Victoria, Australia Education 2004 Master of Fine Arts (Glass), Monash University, Melbourne VIC
Last Solo Exhibition 2006 The Lost Art of Letter Writing, Counihan Gallery, Melbourne VIC Last Group Exhibition 2011 Memories and Mementos, Kirra Gallery, Melbourne VIC Public/Private Collections Bombay Sapphire Foundation, UK
2003 First Prize, Student Exhibition, Ausglass, Fremantle WA 2003 Postgraduate Travel Grant, Monash University, Melbourne VIC
P Wayne Pearson
The Royal Melbourne Hospital, Melbourne VIC
Lane Cove, NSW
Australian of the Year Recipient Award Commision (2005-2011), Australia
Born 1949 Coonamble, New South Wales, Australia
City of Moreland Collection, Counihan Gallery, Brunswick VIC
Education 2008-present Doctorate of Philosophy, Sydney College of the Arts, University of Sydney, Sydney NSW
Monash University Art Collection, Berwick Campus, Monash University, Berwick VIC National Art Glass Collection, Wagga Wagga Art Gallery, Wagga Wagga NSW 76
Awards/Grants 2011 Finalist, Ranamok Glass Prize, Australia
2004 Master of Studio Art (Glass), Sydney College of the Arts, University of Sydney, Sydney NSW
Page 50
2007 Master of Visual Arts (Glass), Sydney College of the Arts, University of Sydney, Sydney NSW
2007 Australian Post Graduate Award, Commonwealth Government, Sydney NSW 2007 Finalist, Ranamok Glass Prize, Australia 2006 Finalist, Ranamok Glass Prize, Australia
S Anne Sorensen Bouvard, WA
Page 52 Born 1955 Hobart, Tasmania, Australia Education 2011 Narcissus Quagliata Master Class, Art Glass Studio, Perth WA 2011 Patti Gray Fused Glass Workshop, Perth Art Glass, Perth WA 2009 Judi Elliott Fused Glass Workshop, Art Glass Studio, Perth WA
2008 Steven Klein Fused Glass Workshop, Art Glass Studio, Perth WA 2008 Denise Pepper P창te de Verre Workshop, Art Glass Studio, Perth WA 2007 Kent Lauer Bevelling Workshop, Perth Art Glass, Perth WA 2007 Ian Dixon Advanced Fusing Workshop, Perth Art Glass, Perth WA 2007 Anne Clifton Paperweights Workshop, Glass Manifesto, Perth WA
Last Group Exhibition 2010 RE:FRACTION, The Sculpture Park, Waitakaruru Arboretum, Hamilton Waikato NZ
Awards/Grants 2011 Finalist, Ranamok Glass Prize, Australia
Awards/Grants 2011 Finalist, Ranamok Glass Prize, Australia
2009 Art Alliance of Contemporary Glass Award, 37th International Invitational, Habatat Galleries, Royal Oak Michigan US
2010 Swarbrick Dixon Award for Excellence in Glass Sculpture, The Sculpture Park, Waitakaruru Arboretum, Hamilton Waikato NZ
2010 Finalist, Ranamok Glass Prize, Australia
2009 Finalist, Ranamok Glass Prize, Australia 2008 Finalist, Ranamok Glass Prize, Australia
2006 Marc Leib Fused Glass Workshop, Art Glass Studio, Perth WA
V
2007 New Work Grant (Established Artist), Australia Council for the Arts, Adelaide SA
2006 Ian Dixon Fused Glass Workshop, Perth Art Glass, Perth WA
Emma Varga
2006 Finalist, Ranamok Glass Prize, Australia
Collaroy, NSW
2005 Finalist, Ranamok Glass Prize, Australia
Last Group Exhibition 2011 In 3D, Old Bakery on 8th Gallery, Perth WA
Page 56
2002 Finalist, Ranamok Glass Prize, Australia
Born 1952 Ada, Yugoslavia
1990 Annual Award for Entire Opus, Association of Applied Arts, Belgrade Yugoslavia
Public/Private Collections City of Armadale Collection, Armadale WA Various Private Collections Awards/Grants 2011 Finalist, Ranamok Glass Prize, Australia
T Di Tocker Ohaupo, New Zealand
Page 54 Born 1971 Auckland, New Zealand Education 2002 Bachelor of Fine Arts (Glass), Royal Melbourne Institute of Technology, Melbourne VIC Last Solo Exhibition 2008 Abstract Figurative Glass, ArtsPost, Hamilton Waikato NZ
Education 1975 Bachelor of Arts (Glass and Ceramics) with Honours, University of Applied Arts, Belgrade Yugoslavia Last Solo Exhibition 2010 Long Reef, Manly Art Gallery and Museum, Manly NSW Last Group Exhibition 2010 Geometry, Sabbia Gallery, Sydney NSW Public/Private Collections Glassmuseet Ebeltoft, Ebeltoft Denmark Contemporary Glass Museum of Applied Art, Belgrade Serbia Contemporary Glass, Powerhouse Museum, Sydney NSW Kaplan/Ostergaard Glass Collection, Palm Springs Art Museum, Palm Springs California US National Art Glass Collection, Wagga Wagga Art Gallery, Wagga Wagga NSW
W Richard Whiteley Queanbeyan, NSW
Page 58 Born 1963 East Dean, United Kingdom Education 1992 Master of Fine Arts, University of Illinois, Urbana Illinois US 1987 Bachelor of Visual Arts with Distinction, School of Art, Australian National University, Canberra ACT 1986 Cast Glass with Stanislav Libensky and Jaroslava, Pilchuck Glass School, Stanwood Washington US 1982 Apprenticeship in Commercial and Stained Glass, Spectrum Studios VIC 77
Finalists’ Biographies (continued) Last Solo Exhibition 2011 Encapsulated Space, Bullseye Gallery, Portland Oregon US Public/Private Collections Artbank, Sydney NSW Australian National University, Canberra ACT Corning Museum of Glass, Corning New York US Embassy of Australia, Washington District of Columbia US
Keryn Whitney
Nick Wirdnam
Hastings, New Zealand
Brighton, VIC
Page 60
Page 64
Born 1972 Taihape, Manawatu–Wanganui, New Zealand
Born 1956 Portsmouth, United Kingdom
Education 2000 Certificate in Glass Techniques and Glass Technology, International Glass Centre Dudley, Birmingham West Midlands UK
National Gallery of Australia, Canberra ACT
Last Solo Exhibition 2008 Kaleidoscope, Wine Country Gallery, Havelock North Hawkes Bay NZ
Palm Springs Art Museum, Palm Springs California US
Public/Private Collections Various Private Collections
Queensland Contemporary Art Gallery, Brisbane QLD
Awards/Grants 2011 Finalist, Ranamok Glass Prize, Australia
Hotel Murano, Tacoma Washington US
The Art Trust, Melbourne VIC Victorian State Craft Collection, Melbourne VIC Contemporary Glass, Powerhouse Museum, Sydney NSW Winners Collection, Ranamok Glass Prize, Sydney NSW Awards/Grants 2011 Finalist, Ranamok Glass Prize, Australia 2006 Finalist, Ranamok Glass Prize, Australia 2004 Finalist, Ranamok Glass Prize, Australia 2003 Finalist, Ranamok Glass Prize, Australia 2000 Recipient, Ranamok Glass Prize, Australia 1999 Finalist, Ranamok Glass Prize, Australia 1995 Finalist, Ranamok Glass Prize, Australia
Clare Wilson Kensington Park, SA
Page 62 Born 1985 Portsmouth, Hampshire, United Kingdom Education 2009 Glass Studio Associate, JamFactory, Adelaide SA 2007 Bachelor of Arts (Glass and Architectural Glass) with Honours, Edinburgh College of Art, Edinburgh Midlothian UK Last Solo Exhibition 2011 Form without Function, JamFactory, Adelaide SA Awards/Grants 2011 Finalist, Ranamok Glass Prize, Australia
Education 2009 Canberra Glassworks Residency, Canberra Glassworks, Canberra ACT 2003 William Morris, Karen WillenbrinkJohnsen and Randy Walk Hot Sculpting Workshop, Pilchuck Seattle Washington US 1998 Pilchuck Scholarship, Dino Rosin Hot Sculpting Glass Workshop, Pilchuck Glass School, Seattle Washington US 1990 Bachelor of Arts (Ceramics), Monash University, Melbourne VIC Last Solo Exhibition 2010 Superstition, Beaver Galleries, Canberra ACT Last Group Exhibition 2011 Drink, Canberra Glassworks, Canberra ACT Public/Private Collections Niijima Glass Art Museum, Niijima Japan National Gallery of Australia, Canberra ACT National Art Glass Collection, Wagga Wagga Art Gallery, Wagga Wagga NSW Awards/Grants 2011 Finalist, Tom Malone Glass Prize, Art Gallery of Western Australia, Perth WA 2011 Finalist, Waterhouse Art Prize, South Australia Museum, Adelaide SA 2011 Finalist, Ranamok Glass Prize, Australia 2004 Finalist, Ranamok Glass Prize, Australia 2002 Artist in Residence, Northlands Creative Glass, Caithness UK 2002 Finalist, Ranamok Glass Prize, Australia
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2000 Finalist, Ranamok Glass Prize, Australia
Y
Take T Yusuke
Kayo Yokoyama
Page 68
Blackheath, NSW
Born 1983 Osaka, Japan
Page 66 Born 1969 Nagoya, Aichi, Japan Education 2011- present Master of Fine Arts (Glass), Sydney College of Arts, The University of Sydney, Sydney NSW 2001 Bachelor of Visual Arts (Glass) with Honours, Sydney College of Arts, The University of Sydney, Sydney NSW Last Solo Exhibition 2011 Homeland, Fox's Gallery, Bathurst NSW Last Group Exhibition 2011 Moreton Bay Regional Art Prize, Pine River Gallery, Strathpine QLD Public/Private Collections Hyatt Regency Hotel, Manilla Philippines Marrion Hotel, Beijing China
Ashfield, NSW
Education 2009 Master of Studio Art (Glass), Sydney College of the Arts, The University of Sydney, Sydney NSW Last Solo Exhibition 2010 What you see, What you believe, ESP Gallery, Sydney NSW Last Group Exhibition 2011 Ausglass Members Exhibition, Ausglass Conference – Peripheral Vision, Sydney NSW Public/Private Collections Private Collection of OHK TV Station, Kurashiki Okayama Japan Awards/Grants 2011 Vicki Torr Online Gallery Prize, Ausglass Conference – Peripheral Vision, Sydney NSW
Awards/Grants 2011 Finalist, Ranamok Glass Prize, Australia
2011 Sabbia Gallery Exhibition Award, Ausglass Conference – Peripheral Vision, Sydney NSW
2010 Finalist, Outback Open Prize Broken Hill Regional Gallery, Broken Hill NSW
2011 Finalist, Ranamok Glass Prize, Australia
2000 Finalist, Ranamok Glass Prize, Australia
2010 Finalist, Ranamok Glass Prize, Australia
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Glossary of Glass Terms Acid Etched The use of 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, 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 glass required to bond to metals and for glass with high degrees of chemical resistance. Ideal for lampworking.
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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. Cameo Glass A method of carving through fused layers of glass which nearly always features a raised, positive image against a background of a contrasting colour. 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. Casting A process of shaping molten glass by pouring or melting it into a mould.
Cire Perdue Refers to the ancient technique traditionally used for the casting of bronze and precious metals but 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 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. Cold Worked An all-embracing term for the various techniques such as engraving, grinding, carving, cutting etc carried out when the glass is cold. 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. 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.
Intaglio Engraving This 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. Flameworking A process of forming glass objects from glass tubing and rod by heating in a flame from a torch. Flameworking is also called lampworking. 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. 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. Glass Blowing The shaping of molten glass by air pressure and manipulation. 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, 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. 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. Inclusion An element of glass or a foreign body enclosed in glass. Kiln Forming The process of fusing or shaping (usually in or over a mould) by heating in a kiln. Laminated The joining together of layers of glass either by fusing or 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 by grinding, sandblasting, or fire or acid polishing depending on the surface required. Marvering 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 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. Murrini A cross cut piece of glass (with a design or colour pattern) used in the creation of a larger glass work. 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. Pâte de Crystal A technique that differs to pâte de verre in particle size and composition of glass in the paste. Polishing A cold working process where the glass object is smoothed either by holding it against a rotating wheel fed with a fine abrasive, immersing it in acid or using a hot flame. 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 sandcarving. 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 this becomes the negative space 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, kilnforming, 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 pressurized 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 Louise Doyle
Tina Oldknow
Andy Plummer
Louise Doyle is the Director of the National Portrait Gallery, Canberra, and prior to this was the Gallery’s Deputy Director, Programs and Collection. Louise has over 20 years experience in the museum sector, as Director of regional galleries in NSW and Queensland, the inaugural Curator of Programs and Collections at Old Parliament House, Canberra, and as Head Curator at the Museum of Sydney, Historic Houses Trust of NSW. As Director of Wagga Wagga Art Gallery (1999 – 2001) Louise curated the National Art Glass Collection and managed the National Art Glass Partnership program with the Thomas Foundation and the National Gallery of Australia. Louise has also been a member of various museum and visual arts committees and advisory bodies including Director of the Board of Crafts Queensland, and the Regional Galleries Association of NSW. She is currently a member of the Canberra Museum and Gallery advisory committee.
Tina Oldknow has been the Curator of Modern Glass at The Corning Museum of Glass since 2000, and she is responsible for all curatorial aspects of the glass collections dating from 1900 to the present. During her time at the Museum, she has reinstalled the Modern Glass and Contemporary Glass Galleries, and she has curated 16 exhibitions.
Andy Plummer co-founded the Ranamok Glass Prize with Maureen Cahill. He and his wife, Deirdre, collect contemporary glass from Australia and New Zealand.
Geoffrey Edwards Geoffrey Edwards is Director of the Geelong Art Gallery, one of Australia’s oldest and largest regional galleries. Prior to this appointment, he held Senior Curatorial positions at the National Gallery of Victoria where he was in charge of the collections of international and Australian sculpture and Melbourne’s celebrated holdings of ancient, antique and modern glass. His professional affiliations, here and abroad, are extensive and include, amongst others, the Visual Arts Board of the Australia Council, Visions Australia, Craft Australia, Museums Australia (Victoria), the Winston Churchill Trust (he is a former Churchill Fellow), the George Baldessin Trust and advisory committees of the National Trust of Australia (Victoria). He has chaired various grants panels for Arts Victoria.
Oldknow has held curatorial and advisory positions at several museums, including the J. Paul Getty Museum, Malibu, the Southwest Museum, Los Angeles, the Los Angeles County Museum of Art, the Santa Barbara Museum of Art, the Henry Art Gallery of the University of Washington, Seattle, the Seattle Art Museum, and the Tacoma Art Museum. She is the author of Pilchuck: A Glass School (1996), Chihuly Persians (1996), Richard Marquis Objects (1997), Dante Marioni: Blown Glass (2000), William Morris: Animal, Artifact (with James Yood, 2000), 25 Years of New Glass Review (2005), Dan Dailey (with William Warmus and Milton Glaser, 2007), Contemporary Glass Sculptures and Panels: Selections from The Corning Museum of Glass (2008), Voices of Contemporary Glass: The Heineman Collection (2009), and numerous articles and essays. From 1996 to 2001, she was the editor of the Glass Art Society Journal and she currently edits the Museum’s annual New Glass Review with Richard Price. Oldknow holds a B.A. in Art History from the University of California, Los Angeles and an M.A. in Art History from the University of Pennsylvania, Philadelphia.
He is the author of various monographs, numerous exhibition catalogues and contributes to journals in Australia, Japan, Britain and the US. 83
2010 Recipient
Sue Hawker Too Much Is Never Enough P창te de verre
Kerikeri, Northland, New Zealand
Too much gloom, too much doom. Too much misery, too much!
50 H x 25 W x 25 D cm Enough! Drink of me, I am joy and vitality. Now, too much is never enough.
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Photographer: Christian Mushenko
Ranamok 2011 Tour Dates 17 August – 22 September 2011 Canberra Glassworks 11 Wentworth Avenue Kingston ACT 2604 02 6260 7005 www.canberraglassworks.com
7 – 11 November 2011 Foyer, Riverside Centre 123 Eagle Street Brisbane QLD 4000
4 – 29 October 2011 Foyer, Angel Place Office Tower 123 Pitt Street Sydney NSW 2000 0400 019 734 www.artandabout.com.au Associate Event of ‘Art & About Sydney 2011’, presented by the City of Sydney.
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 and Chairman Deirdre Plummer Fundraising Andy Plummer
Underwriters Whitehaven Coal Limited XLX Pty Ltd Ranamok 2011 Catalogue Essay Tina Oldknow Ranamok 2011 Catalogue Design and production Dupree Design Group
Design | Dupree Design Group www.dupree.com.au Print | Lindsay Yates Group
Administration Elizabeth MacDougall Peta Mount
Detail from Ranamok Glass Prize Winner 2010 Too Much Is Never Enough by Sue Hawker Photography by Christian Mushenko
ISBN 978-0-9806576-2-3
www.ranamok.com