president's reportDear Members

With this issue the Board ofAusglass is proud to introduce anew publication, the AusglassNewsletter. It is the feeling of theBoard that a newsletter will enableyou, the membership, to receiveup-to-date and relevantinformation in a more timelymanner than has happened in thepast.

It will be a great format for keeping in touchwith current events, job listing, technicaladvice, exhibitions, etc. We strongly feel thatthe newsletter should be the voice of themembership and as such, we need your inputin the form of letters, articles and state reports,etc. We would also welcome any ideas for newcolumns or what areas/aspects of glass youwould like to see covered in the newsletter. Itis intended to pUblish the newsletter threetimes a year, increasing this to four times ayear over the next two years.

The Board has been very busy over the lastfew months and other news concerns theBoard's ongoing work on our Constitution, the1999 Conference, Membership andFundraising.

DALEhihuly

and the gardens of visual delight

As a volunteer worker, Annette Clarkelearns about unusual installations,juxtaposing glass elements with openspace and gettIng children to mop paint In

a big way, with Dale Chihuly as prime mover.

Chihuly's works on show in the publicdomain during the last Sydney Festival did alot to promote alternative uses of glass in artto a public used to thinking of glass in termsof Waterford crystal and Oreffors tableware.The seven large sculptures were installed inthe Botanical Gardens, Government Houseand the Opera House, creating delight andinterest to many Sydneysiders.

The placement of the sculptures outside amuseum or gallery setting emphasised the

The ConstitutionThe Board was gratified by the

overwhe'lmingly positive response from themembership to the draft constitution containedin the last magazine. Many of you, whileaffirming that we were on the right track, alsosent in suggestions. A final version of theConstitution, with these suggestions taken intoaccount, will be presented in the October issueof the newsletter for voting.

The ConferencePlans for 'The Artists' Voice' are proceeding

and the Board and the Conference Sub­Committee would like to thank those of youwho sent in suggestions. Although we cannotuse all the suggestions senlin, what is excitingis that with the proposed new structure of theBoard, we can start to plan and consider thesesuggestions for the 2001 Conference. In thisissue I would like to introduce Edwina d'Apiceof the Wagga City Art Gallery who has writtento the membership about the 1999Conference. Afull run down on the ConferenceProgram will be contained in the next(October) Newsletter.

Membership and NewsletterIt is an important for Ausglass to expand its

membership and we have recently formed asub-committee to look at opportunities todevelop membership. We see the newsletteras a key component in keeping in touch with

relationship between the work and thenatural or architectural environment. Theycomplemented the areas' scale through theuse of repetition of a number 01 similar, large,blown elements, ensuring that the work wasnot overwhelmed by the surroundings. Instead C\J

they incorporated the space in between glass g,elements 'in a way that I have not seen utilised ~by any Australian glass artist. g;c:

The 50 glass onions in the Botanical ~Gardens 2 ponds claimed the ponds as part ~

our members. A new look and regularlypublished newsletter is an important elementin developing our membership base. We hopeyou enjoy the changes and. thanks for beingpatient!

FundraisingIt gives me very great pleasure to announce

the support for Ausglass of the, ThomasFoundation. Earlier this year Ausglass madeapplication to the Thomas Foundation forsupport in the area of administration. TheFoundation kindly granted our request and,consequently we have appointed MeredithHinchliffe as the Ausglass Administrator.Meredith will deal with the day-to-day runningof Ausglass, then with the approach of theConference, she will work as Conference Co­ordinator. She has a Bachelor of Arts degreein Administration and brings many years ofexperience working, with arts organisations,such as Ausglass, to the position. T'he boardwould like to welcome her to Ausglass.

Secondly we made an application to theThomas Foundation for two ConferenceAwards. This application was also granted andagain we have pleasure in announcing theAusglass Student Conference Award of$3,000 and the Ausglass Emerging ArtistAward, also for $3,000. One will be financedby the Thomas Foundation and the other bymatching funds which Ausglass has to raise.

(continued page 2)

in this issue ---I

1999 Ausgla COnfImlrlCe ExI'IlbltIoII8:a taste the five Ivana JIraaek.Read about prizesl PIUI AnGlBsJnxhlbltlon In VIcIoria.

DALE CHIHULY(continued from front page)

of the artwork. Suspended on still water in theearly morning, the mirroring of the imagemultiplied the size 01 the work, while theafternoon sea breeze gave the objects asenseof motion and flow. My favourite piececonsisted of 150 red spears in the garden bedsof Government House forming a corridor ofexotic primitive flowers reminiscent of theAustralian 'black boys' rising above thevegetation.

While working on set-ups coordinated by theUS sculptor, Parks Anderson, I kept thinkingabout the size of the sculptures, theprofessionalism of the Chihuly machine andthat 'everything is bigger and better inAmerica'. Normally, the last statement has

negative connotations related to the brash­ness of Americans, but I was really impressedwith his ability to pull together an extremelyprofessional team of experts in their fields.

The chandelier in the Opera House had tobe installed in one day, due to Opera Housecommitments. To speed up the process, theframe was made in four parts and built on theground, then hydraulically lifted into place. Theclear pieces were made of plastic (poly­urethane), the plastic thus reducing the weight.

Reviews of Chihuly's work varied, but myresponse to a particularly derogatory critic was'here we go again; art critics fighting to preventglass artists moving into the field of sculpture'.But I feel that Chihuly's work speaks oftraditional uses of glass, associations withnature, and Ilinkages with beauty and form thataviewer uneducated in the nuances of the artworld can relate to.

The highlight of being a volunteer over theperiod was the children's painting workshopat Sydney College of the Arts. Dale's loosestyle of painting, using mops and squirtingpaint straight from the bottle, allowed me theobservation of how quickly we becomeconditioned in our society. Some childrenhappily followed the exploration of paint onpaper in free-form, while others displayed anobsessive precision while working underwatchful eyes of approving parents.

Annette ClarkeYr 2 student in Glass at SCA.

P E IDE T J EP T(continued from fron page)

We already have a pledge of $500 towardsthis second award and any further donationswould be greatly appreciated. Initial details forboth awards are contained in this Newsletter,with the Conference Exhibition information.Further details of the Awards will be publishedin the next Newsletter. Also in the nextnewsletter, look for information on the newThomas Foundation Pilchuck Glass SchoolScholarships.

As you can see, we have been quite activeover the last few months - it is an excitingtime for Ausglass.

Jane BrucePre ident

Jane Bruce Glass Workshop

e-mail: Jane.Bruce@anu.edu.au

ph: 062495829

fax: 062495722

The Australian National UniversityInstitute of the ArtsThe Canberra School of Art

above: Chlhuly's Macchia Sea Form Group 1982left. Sea Forms, 1981

the Ausglass Committee

Jane Bruce, President, Narrabundah ACT

Pauline Delaney, Vice Pres. Footscray Vic.

Maggie Stuart, Membership Officer,Woonona NSW

Rozlyn de Bussey, Secretary, Griffith ACT

Declan Sommerville, Treasurer, Woodville SA

Brian Hirst, Chair, Constitution sLlb­committee, Annandale NSW

Meza Rijsdijk, committee, Leichhardt NSW

Maureen Williams, committee, St Kilda Vic

Ede Horton, committee, Vic

Richard Whiteley, committee, Manly NSW

Edwina d' Apice, conference committee,Wagga NSW

Ivana Jirasek, conference committee,Brisbane, Old

NOT THEEDITORIALfrom the editorial committee

As always, finding copy tocreate a good newsletter

is a problem and of course thesolution remains the same.

Voluntary contributions fromAusglass members andsupporters. No pressure, nocajoling. Just lots of informationflowing in. Comments,suggestions and criticisms arewelcome. You could also sendus images - as slides,negatives or prints to publishwhere space permits.

In the hope of stimulating debate, we haveidentified some themes that deservecontinuing interest and support.

In particular, Personnel health and safeworking practices in the studio.

There's enough anecdotal evidence andrumours to suggest there may be patternsin work-related injuries for glassworkers.Gory stories of personal distress makeinteresting reading and could also beconsidered useful research (of an ad hocnature).

Where are they now? Remember lookingat your glass collection, or finding an oldexhibition catalogue and thinking "' wonderwhat they're doing now?" We wonderedabout Con Rhee, Maria Poletti and Julie Brand.

Leaving invasion of privacy considerationsaside, news of former Ausglass cabalists,and those M.l.A. would be welcome. Asortof Lost and Found section.

State Information: time for a grassrootsmovement to ensure your staterepresentative, or delega e, contributes areport to each issue, including all thegossip.

Calendar of Events: please send us yourinformation to include in our events.

We would like to express our sinceregratitude to Anthony HoNman torundertaking the production aspects of thelast issue over the Christmas . . Thank you!

Deadline for next Issue is28 August 1998.

send your copy to:

Ausglass NewsletterPO Box 4018MCKINNON VIC 3204

_.........

1999 ausglass conference exhibitions

Five exhibitions are being developed toaccompany the 1999 Ausglass Conference atthe Wagga Wagga City Art Gallery (WWCAG),NSW. The exhibitions will be the first to fill therelocated Gallery premises in the new CivicPrecinct, designed by Garner Davis ArchitectsAustralia, who proposed the winning designfor from 132 international entries. All theexhibitions will take place at WWCAG and willbe subject to a selection process. Theexhibitions are open to all financial membersof Ausglass. Work in the exhibitions will be forsale and some of the exhibitions may betoured. Detailed information will be posted toall Ausglass members shortly, but a summaryof the exhibitions are:

1. reflection pool installationsThis will be a site specific work for the

outdoor pool that runs alongside the newNational Art Glass Gallery. The reflection poolis adjacent to a long tinted glass face of theGallery, and is approximately 20 metres long,1.Bm wide and 20cm deep. Several artists maybe selected to install their work at this site,depending on the number and quality of theentries received.

art in glass exhibitionReview by Celia Roach

Art in Glass November 1997, Axia ModernArt (formally Editions Gallery), Armadale,Melbourne.

Art In Glass featured 40 works by 5 artists- Ann Robinson, Giles Bettison, EmmaCamden, Garry Nash and Kevin Gordon.

The title Art in Glass immediately raised ClJ

question. What is meant by Art in Glass? Isthis an attempt to move glass out of the realmsof craft and into that of fine art? If it is, doesthe old worn out debate of craft vs art stepinto the spotlight for yet another encore?

111 lact, the title was not a reaction todiscourse on the art/craft hierarchy. Rather, itwas deliberately used for commercial reasons.The usual clientele of commercial galleries arefamiliar with paintings and works on paper, afine art audience, and would probably think ofglass as something to drink out of rather thanto 'Just' look at. Beverly Kenna, the director ofEditions started the Art in Glass exhibitions in1996, and through these exhibitions isdeliberately opening up opportunities forcollectors to see glass beyond productionwork, that is, 'one of' precious objects, withno expectations of function, beyond their ownform. The artists in this exhibition are diverse,not only in experience, but also in conceptsand technique.

2. the members' exhibitionIn the tradition of Ausglass conferences, this

will be an exhibition of members' work. Workis to have been completed since the 1997Ausglass Conference, and at least one pieceby each entrant will be exhibited

3. production glass exhibitionThis will be an exhibition of quality

production or limited edition glass work i.e.work made in multiples. Funding is beingsought to produce a promotional catalogue forthis exhibition, with run-ons to be madeavailable to the selected entrants for a fee.

4. 'quoting others'The unifying theme forthe 1999 conference

is the "artists' voice" and will explore themetaphoric ways in which the artist speaksand is heard. 'Quoting others' is a responseto this theme, and invites artists to considerthe voices they respond 10. It can be a quotefrom the written or spoken word - whether fromliterature, the media, lyrics from songs ­essentially 'the voice of another'. Thequotation will become the title of the work.

Ranging from the whimsically titled JellyBean and Starry Night platters to the largefree-blown cylinders, vibrancy of colour is thedriving force behind Garry Nash's objects.Deceptively fragile, Bettison's work was titled'Travelogue Series', and consisted of 10murrini vases and bowls. What is most strikingis the delicate colour. The techrnique Bettisonuses to create the vessels, results in a surfacewhich references woven geometrical designs.

Often, one of the most interesting issuesraised by an exhibition which includesemerging as well as established artists is thatof technique. The crucial importance oftechnique is never underestimated by thosewho have spent years mastering process, but,ironically it is what should not be apparent tothe viewer, if an object is to be successful.

This argument is apparent in AnnRobinson's cast crystal vessels. Nuances ofcolour and form are drawn directly from her

5. the st 0

An exhibition open to all full and part timestudents, including post-graduate studentsenrolled in 199B.

prizesWork in the exhibitions will be eligible for

the following prizes:$3,000 Inaugural AusglasslThomasFoundation Student Award (for studentsand trainees enrolled in 199B)

$3,000 Inaugural AusglasslThomasFoundation Emerging Artist Award (forthose in professional practice for fiveyears or less)

$2,500 Inaugural Vicki Torr Prize (opento all members except students)

Ivana Jirasek.

immediate natural environment, and speakeloquently of her strong relationship with therhythms and patterns of nature.

The hollow cast forms of Emma Camdenreference architecture, quite literally, in fact.Titled Glass House Series and Enigma TowerSeries, the objects have been carvedinternally, geometric patterns catch light whilethe external surface is a smooth matt finish.The surface of the lower half, however, did nothave the same treatment, and so the piecelost some of its impact by this inconsistency.

Kevin Gordon's etched. bowls and vasesshowcase his mastery of the etching process.The balance and proportion of the images arecomplimentary to the forms of the vessels.However, the titles of the works imply that thisis not pure decoration, and when work is sothematically diverse,it can be confusing. Theviewer is given no clue as to how to read theimages. The fine art context is demanding, itrequires artists to be familiar with currentdebates and issues surrounding images thatthey might be using. This is not to say thatwork should be driven by debate, or theprevailing thought of the moment, far from it.But the work deserves to be informed so thatit can speak confidently for itself in any context.

Celia Roach is a practising artistwho has had an avid interest andinvolvement in glass since the late 1980's.

ree ·ngS/rom'Vic oria

rQueensland Victoria New South Wales

CALENDAR OF EVENTS

June 1998June 18 - July 11 Pamela Stadus: Objects in TimeCraft Victoria, 114 Gertrude St. Fitzroy (03) 9417 3111

June 28 - July 4: Queensland Glass Artists Winter SchoolChuck Simpson (07) 5442 8835. Glass Blowing: Jane CowieTraditional Painting &Staining: Gerry CumminsPate de Verre: Marea TimokoFlame Working: Richard ClementsSurface Decoration &Sandblasting: Tony HanningEnamelling &Engraving: Deb Cocks

JUly 1998JUly 3 - July 29: Kinectic Jewellery and Metalsmiths Associationof Queensland

July 16 - Aug 3: Helen Aitken-Khunan, Quadrivium, L2,Queen Victoria Bldg. George St, Sydney (02) 9264 8222

July 21 - Aug 9: Deb Cocks, Glass Artists Gallery, 70 Glebe Point Rd.,Glebe NSW (02) 9552 1552

October '98October 1 - 24: Richard Whiteley 'Transmission', Craft Victoria,114 Gertrude St, Fitzroy. (03) 9417 3111

Over a decade at the helm at MonashUniversity, Bronwyn Hughes has now retiredand is pursuing her interests in historical glassrestoration/conservation. Bronwyn hasrecently completed her Masters degree on thistopic.

Tyron Benton has returned to Melbourne fromthe Jam factory via an extended trip overseasto Europe.

Tricia Allen's East Gippsland Glass Event inMay attracted 15 glassblowers to participatein a team challenge.

Keep on going George - only 20 more to go!

James Thompson and Paul Sandershavehad a piece collected by the City ofWagga collection.

Maureen Williams held a glass blow in duril1gMay with Scott Chaseling, Tom Rownie,Janeen Toner and Sophie Emmett. 'Maureenis also attending the Dante Marioni and BenMoore workshop at Pilchuck in July - Shereceived a scholarship from Pilchuck to do so

Nick Wirdnam is invited to exhibit in theVienezia Aperto Vetro 1998. Nick is alsoattending PHchuck on a scholatshlp toparticipate in the Dino Rossin workshop.

Pat Wong and Gabriella had a baby boynamed Odin in January. Bruce and TraceyHutton had a baby boy named Oliver on the22nd April. Peter Ferguson and Juli Singletonhad a baby girl named Leah on the 8th April.

On their recent visit to Oz, Pat and EmilyCash found their way to the Vesta Hot GlassAccess Studio in Paradise. Under the watchfuldirection of resident glass blower, TinaCooper, Emily blew a beautiful large bubble.Pat on the other hand insisted on making adrinking vessel. On his first attempt he pulledoff a 1.5 XXX stubbie tumbler. Not bad for atennis star!

Pat has signed and dated his piece which willbe auctioned at the Winter School '98.

We are still in shock from the news of the deathof Simon Lewis, who drowned in the surf onthe sixth of March. Simon and Tina had beenclose for some time.

The vacancies for the Winter Schoolworkshops are filling quickly with Cummins,Timoko, and Clements already full. Hanning,Cowie and Cocks have a few places eachavailable at the time of writing. There are fifty­seven applicants, nine of whom are from NewZealand. There were twenty-five applicants forscholarships with six $550 and six $280scholarships awarded.

The scholarships this year have been providedthrough the generosity of the ThomasFoundation.

For further information on Winter School,contact me (artistic enquiries) on (07) 54428835 or Cynthia Mitchell on (07) 5442 8550,for brochures and application forms.

Avacancy currently exists for an establishedglass blower to work from our studio. If youare tired' of doing production ninety percent ofthe time just to pay the gas bill, you shouldseriously consider re-establishing yourbusiness and hiring time from our well­equipped access studio. You can make a lotof exhibition work in ten hours - and spendthe rest of the week on the beach!

For further Information give me a call:

Chuck SimpsonQueensland Glass Artists Association Inc.and Vesta Hot GlassPO Box 283Eumundi, QLD 4562

Ph (07) 5442 883'Cashy' and Tina working hard

on that stubby tumbler

Other recent stained glassby Kim Lester

'Dewi Sant',Welsh Church, Latrobe St, Melbourne

(traditional painted saint)

The Sacraments Windows,St Johns Anglican Church, Camberwell,

Melbourne (contemporary)

(reported on behalf of Brian Hirst)

Curricular Quay, will open in a few weeks.Shaelene Murray (known for her headlighthandbags), has one of the first soloexhibitions. The set of galleries is the newhome for CfCC and the galleries have avarietyof exhibition spaces that need your work! Callsfor proposals will be published in new issuesof Object Magazine.

Keith Rowe is offering workshops for glassblowing at his studio in BI'ackheath (BlueMountains), call (02) 4787 7220 for details. AtSydney College of the Arts we are offering aweekend workshop in Painting on Glass withDeb Cocks and a flame working workshop withBlanch Tilden. For details call (02) 9351 1006.

Glass Artists Gallery has upcoming soloexhibitions by Deb Cocks, Gerry King and, ofcourse the RFC glass prize. For more detailscontact Sharon (02) 9552 1552.

In news just to hand, there is a rumour thatJeffrey Hamilton has cut off his pony tail. Atthis stage it is just a rumor, but stay tuned forupdates.

eportjrom+ Japan update by Richard Whiteley

RYTby Kim Lester

What has been described as a pair ofbathers on a beach towel is actually the girdleof the Virgin dropped on St Thomas' head asproof of her ascent into heaven. Some of theolder members of the congregation thoughtthis was a little racy for a church, but I thoughtit was a nice allusion to Parson Docker'sdefrocking.

Although the church was built in the 1850's,I decided against traditional symbols andmethods and used a contemporary approach.

Instead of painting the birds, spears, hearts,rocks, buildings and so on, I fused or cast themin clear glass. These stand out from a richlycoloured background and even on a dull day,the range of thick and textured glasses catchthe light.

I'm probably alone in understanding all thesymbols, and everybody has their owninterpretation (whether it's a pair of togs orMary's girdle is entirely up to you).

What is important is that the windows inspireand invite meditation, in both a religious andartistic sense.

Zealanders, there were about 30 or so andthey were surprisingly easy to find in a crowdof 1550 people! There were over 40 countriesrepresented and as many parties. On thesecond day of the conference one would havebeen forgiven for thinking they were at anAusglass conference with Geoffrey Edwardsand myself presenting papers back to back,Klaus Moje's demonstration, assisted by thecharismatic, Scotto Chaseling and the openingof the Latitudes exhibition, organized by KirstyRea. Giselle COiJrtney also opened her soloexhibition in Nagoya just after the conference

pro9ram.As part of a post conference tour, Pamina

Traylor, artist and lecturer in hot glass atCalifornia College of Arts and Crafts andKatrina Hude, artist and studio assistant toDick Marquis, visited Sydney for a week beforeheading, to various other Australian ports. BothPamina and Katrina were genuinely impressedwith the quality of Australian glass but werenot so enthused with Australian pub staff.

The new Center for Contemporary craft(CfCC) Galleries at Customs House,

What did the Virgin's bathers have todo with Doubting Thomas' journey totrue faith? Read about Kim's ownjourney in theological meaning.

Recently Iwas commissioned to design andmanufacture four stained glass windows forSt Stephens Anglican Church in Richmond,Melbourne.

My brief was to honour St Thomas (as in'Doubting') and Parson Docker, a local priestwho despite being defrocked, maintained hispopularity and provided the site for StStephens last century.

In between readings of Parson Docker'sbiography I immersed myself in some intensivebible study and the Apocryphal Acts. Fromhere I developed some of the visual themes.

For Thomas's journey from doubt to truefaith, I depicted troubled waters flowingupwards into heaven. For Parson Docker, thelocal legend and pillar of strength - I lookedto the Australian landscape and chose thesymbol of a Redgum.

Some of the more obvious symbols includea fish for Jesus, and crucifixion blood-and­nails. Building squares represent St Thomasas the patron saint of building and at the sametime, Parson Docker's contribution to thebuilding of the church.

A CREATION

With the state rep. last seen in a sushi barin Seto City, Japan, Ausglass has asked meto report on a some glass related events inNSW.

Sydney is still recovering from DaleChihuly's visit in January and since that timethere have been several other visitors to the'City of Brides'. James Carpenter (New Yorkbased architectural glass artist) flew intoSydney to make a presentation to SOCOG.He also gave a lecture at the Sydney Collegeof the Arts, where he spoke on his architecturalcommission work. What a lecture! Articulateand insightful (he was also offered thecommission for the Olympics!). MichaelScheiner, Rhode Island based artist, alsospent a week in Sydney before he headed toCanberra and then to the Glass Arts Society(GAS) conference in Japan. Michael enjoyedAustralia and visa versa.

David Traub, artist and lecturer at Wanganuiin New Zealand, brought himself and 10students for their exhibition at Glass ArtistsGallery. David had organized the trip tocontinue on to the GAS conference. Attendingthe conference was part of the studentsprofessional development program.

The GAS conference itself was a great placeto catch up with fellow Australians and New

What happens when abunch of blowers with apenchant for fancy dresstry hard to impress aserious panel of judges noolder than 121 Thecompetition is very tough!

Since 1995 the first weekend in May hasbeen a time for glass blowers to get togetherin Lakes Entrance, Victoria for the EastGippsland Glass Event.

Initially the idea for the event was to reuniteglass blowers who had a connection withGippsland. Because of Budgeree Glass, thisincluded Nick Mount, Tony Hanning, RobWynne, Brian Hirst, Anne Hand and MikeHook.

Collaborative glass blowing over the twodays of public demonstration engendered aspirit of teamwork. Having heard about theantics played out during the Ruth Kingworkshops following the Heart of Glassconference in 1995, the idea was born tocreate a Team Challenge to provide anopportunity for glassblowers and students totest their wit and skill in a challenging-but-funcompetition.

This year 15 participants - all from Victoria,with varied levels of experience, gathered totake the challenge. It was great to see fivecurrent students from Monash Uni. take part,even though some might have thought theywould just be watching. Not so; it was sink orswim.

After a warm up session, lunch and thearrival of latecomers, teams and themes weredrawn from a hat. Three huddles of fiveformed. After ten minutes of brainstormingtheir 'pyjama' theme, the first team werecaught napping when presented with 5 pairsof PJ's as they took to the floor. The sight ofRichard Morrell in shortie pyjamas set thescene and the ensuing 'Banana-in Pyjamaswith Big Ted under arm' set the standard. Itwas high! Witnessing this, it was back to thedrawing board for team 3, 'We need more!',was the battle-cry.

Meanwhile, Team 2 took centre stage. DiscoGoblet was the challenge and James Brownwas the answer; complete with high heeled

boots, flares with cuffs,gold chains and afro. Allteam members jived to70's discs through-out. Veryimpressive!

Team 3 with the general theme. of Animalwas not to be outdone. They had the crowdguessing till the last minute as bits, bits andmore bits were added, put away, taken outagain and stuck back together. Teamwork toa Tee. What was it? A puffer fish ,in the jaws ofa sea monster of course, ...we should haveguessed.

By now it was dark ... Party time l On a nightwhen too much glass blowing was not enough,the longstanding Victorian glass blowers' partytradition of Richard Morrell blowing a yardglass was upheld. The increasing tendencyfor others to do the same was pushed to itslimits. King Richard still reigns but he maysoon be overthrown.

There were no standing Victorian glassblowers the nex1 morning though, not in LakesEntrance anyway. The troops sort-of rallied bylunchtime for a reshuffle of teams, with thehighlight of the afternoon being an outstandinginterpretation of the Lust in Space theme.

The judging was carried out by 3 childrenaged 8-12. They were so impressed, theydidn't want anybody to lose, so they gave thefollowing jUdgement:

Best Entertainment Value: Team 2, TheDisco Goblet -for the dancing.

Congratulations to Carrie Westcott, PhilipWestcott, Sophie Emmett, David Brayshawand Tali Dalton.

Best Teamwork: Team 3, The Puffer Fish- with all those bits. Congratulations toAndrew Lavery, Ian McCall, Trish Callan, NormBorg, and Irena Kaluza.

Best Wizardry: Team 1 B3 and BT.Congratulations to Mike Hook, Marcus Dillon,Nick Wirdnam, Richard Morrell and Tricia Allen.

The judges chose Team 3 as the overallwinner, which was an impressive resultconsidering Team 1 was weighted with

experience, had the advantage of anemotional tie between the judges and thesubject matter - and had a member who wasclosely related to the three judges. Well doneTeam 3!

We are adding another category to theabove; The Best Interprletation of a Themewon for Venus Envy, conceived by Carrie,Andrew, Mike, Sophie and David on thesecond day, despite the fact that they had lessbrain cells between them than on the first day.

There was one final piece made by Carrie,Philip, Norm and myself after everyone elsehad left and we've decided to make it theoverall winners' trophy. Made to the theme'Lounge', made to lounge music, and titled TheLizard and the Smiling Potato, this will be acoveted prize which will be presented to Team3 once it is 'trophy-ized'.

On that note, a big thankyou to Carrie fortheme music and props and to everyone whocame a long way to have a lot of fun.

Victoria has Ilaid down the gauntlet: we have5 outstanding perpetual trophies for the event.Can you other states rise to the challenge?We'll find out same time, same place, next year.

by Alan Newton

Down the track from hifirst solo exhibition) anemerging glass artistreflects on the experienceand finds the exploration,not the end product, to bethe motivation.

Matthew Curtis is an emerging artist whosework over the past couple of years hasattracted more fhan a passing interest ­publicly and amongst his peers. After the 1996RFC award, Matthew's work was voted'peoples choice'. His prize was the opportunityfor Matthew to present his first and current soloexhibition, Explorations in Glass.

The works Matthew exhibited representedthe culmination 01 a six year informalapprenticeShip in glass 'blowing and studiodevelopment. Interviewing Matthew about hisbackground in glass was an opportunity forme to draw some interesting comparisons tomy own education as a current student atSydney College of the Arts.

What turned Matthew towards glass?

By1990 the lures of working as a dogfoodsalesman had worn a bit thin and following atrip overseas, Matthew had a timely phone callfrom an o'id friend who needed an assistant tohelp him start up a new studio. The friend wasRob Wynn and the studio, Denizen Glass, onSydney's northern beaches. Matthew museson those first couple of years: "A diet of puntiesand raps in between welding shelves, strippingpaint and designing and building the studio'sfirst furnace. I didn't even know what moltenglass ~ooked like and here we were building afurnace!"

Opportunities to blow glass were limited inthe first couple of years, but Matthew developedsome skills largely through imitation or trial and

error, without the how's, when's, or why's. Atwelve-month stint with Brian Hirst followed andMatthew was then faced with a seminaldecision. He had developed a strongbackground in hotshop equipment, to the extentthat he was becoming tagged as an equipmentspecialist rather than a budding glass blower.

"This was not the path I wanted to follow. Itwas a conscious decision to start using thelimited skills I had developed, and approachmy work as a means of making some money.Prior to this I had a reciprocal arrangement,whereby I developed and maintained thestudio in exchange for blowing time. My skilldevelopment had plateau'd out" So Matthewbegan to utilise hotshop time more intently,and with more purpose.

One strong motivation during the earlier partof his career was the environmentalconsideration of running a glass blowingworkshop.

"I have always been very aware of theamount of energy the workshop consumes,and place a high priority in using the workshopas efficiently as possible, to justify thatconsumption. In many ways, learning in aworking environment has taught me therealities of making production work; how todevelop a range of quality, saleable workefficiently".

Matthew returned to Denizen Glass and wasencouraged by fellow artists to enter the RFCaward in1996. After winning the 'peopleschoice' and working towards a first soloexhibition, he became more critical' of his workand had to push harder to refine skills.

So, having worked with and observed arange of artists at Denizen Glass, plus animpressive list of other local, and overseasartists, how had they influenced Matthew'sapproach to his work?

"The most important way I learn from otherartists is through their attitude and approachto their own work. I could name a few whohave made a big impression on me, but withoutdoubt, it would be Ben Edols and Kathy Elliottwho have been most noticeable".

It was confronting at first, working withpeople who had such a strong sense of whatthey were trying to achieve and the way they

valued the work as an expression ofthemselves as people. "I really had to takestock of what it was I was trying to achieveand develop a stronger sense of professionalpride".

The work at Matthew's exhibition representsa personal milestone - or more precisely, astepping stone. "I always have the desire topush my own personal boundaries, and toexplore the glass".

Once a goal is achieved there is adiminishing satisfaction until a new goal arises.The exploring is the motivation, not so muchwhat is produced along the way.

Alan Newton is a second year student in Glassat Sydney College of the Arts.

Below: a piece from 'Exploration in Glass'exhibition at the Glass Artists' Galler}~ Glebe.

--_._------_._-- .

DDD

aus lassrnern r hip

, ' t oa~ I

\o.\~es, I would like 10 become

a member ofAusglass

Name - - - - - - - - --

Address ----------

Phone/s- - - - - - - - - -

I enclose the sum of- - - - - -­

Please make cheques payable to Ausglass

What is your main interest in glass?(i.e. Hotglass, col/ector etc.)

Membership levels

Full member. Fee $90 for two years.

Affiliated Member (interestedorganizations). Fee $90 for two years.

Student/Concession memberFee $50 for two years(please provide copy of /0)

Send to Maggie Stuart, Membership Officer1 Charlotte Harrison DriveWoonoona NSW 2517

Questions?Contact Maggie on:Ph (02) 4284 7844 or BH (02) 9211 2741Or your state Representative

Huge trolley kilnHeight: 1150mm, width: 2040mm

with Harco controller, cable etc. $8,000

Clemco sandblasterACDFM 3048, 30" x 48"

&Champion AP7 compressor $3,000

Vertical belt linisher $700Hand held rotary grinder $250

equipment is in SydneyQJJLd.eta.i1s:-c,.w.LU..........o.<LLl~L..W.L-"LWL.u.y

on (08) 9330 1756 or (M) 0412328 860

The Wagga Wagga City Art Gallery is verypleased to host the 1999 AusglassConference. The Gallery has been collectingglass since 1980 and has developed a strongcollection ot Australian Glass. This collection,the National Art Glass Collection, has neverbefore been on complete display due to lackof exhibition space. The new Wagga WaggaCity Art Gallery will feature a purpose builtGlass Gallery that is designed upon the themeof ashard of glass. This building has one sideentirely clad in glass and will feature the wholeNational Art Glass Collection displayed overtwo levels. It is planned that the officialopening ot the Glass Gallery will coincide withthe Ausglass Collection so that we can sharethis special event with Australian glass artists.

The Glass Gallery is a focal point of thenew Wagga Wagga Civic Centre where theAusglass Conference will be held. This centreincludes a theatre, restaurant, coffee bar,library, art gallery, council chambers andcouncil administration. The three days of theconference will be spread across the complexand the shady banks of the Wollundry Lagoon.As part of the conference the Wagga WaggaCity Art Gallery will host four exhibitions in ournew space. These exhibitions are to beoverseen by Ivana Jirasek and myself and theopening party will be one of the highlights ofthe conference.

The 1999 Ausglass Conference is set to bea terrific event and I hope that all Ausglassmembers will attend. Information about theexhibitions are included ill the Ausglassnewsletter so look out for the guidelines sothat you can be part of the action.

January in Wagga Wagga is usually very hotand dry and the Murrumbidgee River is one ofthe coolest places to be so pack light, bring yourswim-wear and I'll see you in Wagga in '99.

Edwina d'ApiceDirector, Wagga Wagga City Art Gallery

RighI:Blilz Bomb

by ShaeleneMurray L- -=-__-'

Issue No.1, Winter 1998Ausglass NewsletterQuarterly Journal of the AustralianAssociation of Glass Artists

Editorial CommitteePauline DelaneyJaneen TonerCarrie WestcottDavid Turner

Production team:Richard WhiteleyAdele Barnett, design & layout,Sydney College of the Arts

Ausglass NewsleUer is grateful for the

support 0' Sydney College 0' the Artsin the production of this publication.

Contributions may be sent to:

Ausglass NewsletterPO Box 4018,McKinnon, VIC 3204

Fax: (03) 9523 0620

email: AusglassVic@Toucanglass.com.au

Copy Deadline 'or next Issue is28 August 1998.

The Editors reserve the right to abridgeor otherwise modify news copycontributed to this publication.

Advertising Rates '98-'99

Block Ad:s price per issue

1/4 column (57mm x 68 mm) $40

1/2 Column (57 mm X 133 mm) $70

Full Column (57 mm X 265 mm) $120

2 Columns (120 mm X 265 mm) $200

Prices are for finished artwork on disk

Ausglass can assist with advertisementlayout and design at negotiated rates.1 Make sure lhere is not too much copy for

the size of ad you have selected.2 Put your final copy on paper or on disk,

together with any logos or bromides to beincluded.

3 Images to be scanned must be slides,photos or gallery cards unless they Brehand drawn.

If you are sending finished artwork1 please make sure It is exactly the cor

size you want the ad to be.2 Finished Artwork should be tn

Pagemaker v4 to 6.5, Quark Xpress tov3.3, Illustrator to v7.0 Photoshop to v4.0or Microsoft Word to v6.0.

3. All scans, fonts and logos must beincluded on disk.

Plea include an appropriate. self-addressedenvelope for return of artwork etc.

Enquiries & advertising artworkAusglass NewsletterPO Box 4018McKinnon, Victoria 3204