Home is where the heat is

canberra glassworks 

HOME 

IS 

WHERE 

THE 

HEAT 

IS 

26 OCTOBER 2017 TO 14 JANUARY 2018 

HOME IS WHERE THE HEAT IS | 26 OCTOBER 2017 TO 14 JANUARY 2018

Image: Sydney Noble Edwards, Canberra Powerhouse, circa 1920s Courtesy of David Paterson

Home is a very loaded word that can mean many things to different people: warmth; 

love; shelter; haven; personal space to name a few. 

In this exhibition, I asked artists to respond to a place that is very familiar to them; 

one where they spend much of their waking time. 

Canberra Glassworks, previously known as the Kingston Powerhouse can 

accommodate 15 artists working in their own studios and at any one time 20 other 

artists might be working in the facility – in the hotshop; coldworking; sandblasting or 

using the kilns. 

The heritage building has been internally converted to be a working glass facility, one 

of the few in Australia. It has an international reputation for excellence and quality 

resources alongside several gallery spaces and a retail space. 

The artists in this exhibition all have an affinity with the building and the facility, and 

the works in the exhibition show the diverse way they feel about their sometimes fiery 

Home Away from Home. You can find their works scattered throughout the building 

in sites that they have responded to. 

– Jane Cush, curator 


ARTIST STATEMENTS 

Elizabeth Casling and Graeme King 

Through Make Your Own, CIT and Courses-on-Demand, 

members of the wider community are enabled to make glass 

works at Canberra Glassworks and, in that sense, they’re all 

artists. Many are just one offs, but some people take advantage 

of Courses-on-Demand and the mentoring program to increase 

their skills and become independent hirers. 

This is a valuable aspect of the Glassworks community 

engagement and a selection of pieces made by these artists 

would make an important contribution to an exhibition 

showcasing 10 years at the Canberra Glassworks. Graeme and I 

are two of these artists and have each contributed a piece of work 

to this exhibition. 

Ellen Collins 

A revolutionary aspect of Walter Burley Griffin’s design for 

Canberra was to have every house supplied with electricity, 

generated by the Kingston Powerhouse. It is difficult to believe 

that having a reliable electricity supply 24/7 has only been a 

convenience available in (many) cities for less than a century. 

These pieces reflect on the short life span of technological devices 

which are all too soon relegated to historical objects, often 

unrecognisable to future generations. The use of transparent 

glass adds fragility and alludes to the transient nature of the 

original object. I am inspired by the Vanitas still life genre that 

emerged in 17th Century Dutch paintings at the height of the 

Dutch Empire. They were a didactic message to the masses about 

the transience of life and the dangers of the excesses of wealth 

and indulgence – a message highly appropriate to our own 

contemporary Western culture. 

Jacqueline Knight 

I am constantly fascinated by the phenomenological experience 

of using glass as a sculptural metaphor. I aim to speak to the 

viewer by way of a visual experience that reflects their sense of 

self. 

Mounted on a wall, the wings represent the essence of flight 

yet they are trapped, mid-flight and frozen in time. This in turn 

pushes the sculpture into the realm of architectural adornment. 

The adorned room becomes a metaphor for relationships and 

a current state of being. The materiality of glass offers many 

ambiguities resembling human interactions. 

Both humans and glass contain intriguing polarities; glass is 

strong yet fragile, luscious yet cold, heavy yet allows light to pass 

through. In black lustre, the reflective glass mirrors the outside 

world, outwardly opposing everything that is presented to it.” 

Jennifer Kemarre Martiniello 

Prior to the creation of Lake Burley Griffin the area where the 

Canberra Glassworks stands was a grassy landscape dotted with 

lowland native trees and shrubs. Close to the confluence of the 

Molonglo River and Jerrabomberra Creek the area may have been 

occasionally flooded giving rise to seasonal mudflats, yielding 

fertile soil for food species, including grains, seeds and bush 

fruits, enhancing its capacity to sustain traditional rotational 

habitation, camps, meetings and ceremonies. In these two works 

I have sought to evoke some of the textures, colours, forms and 

life-cycle changes across seasons of the more than 30 species of 

native grasses, shrubs, trees , reeds and rushes that characterised 

the landscape before non-Indigenous habitation. This diversity 

included multiple species of sedges, reeds, tussock and kangaroo 

grasses, eucalypts, casuarinas, Xanthorreas, kunzea, lomandras, 

grevilleas, bursarias, dianellas, acacias, she-oaks, wattles, tea 

trees and paperbarks which sustained more than 180 species of 

native and migratory birds, 34 of which are now endangered. 

Mark Elliot 

In the context of architecture (and town planning), I see the 

tree as the improvisational other - needed by humans to 

counterbalance the order of the built environment yet not always 

trusted for its independent mind - somewhat like an unruly artist - 

commissioned to provide an unspecified artwork for a building. 

The tree is a wild thing, which can be partially but never entirely 

tamed with its tendency to sprout roots and branches in 

unexpected places. In another sense, each tree is itself a piece of 

architecture which has grown as a unique variation on its own 

genetic plan and plays host to a vast array of inhabitants both 

above and below ground - many of whom either contribute to, or 

challenge its integrity. 

I encounter this tree each time I stay at the Glassworks Chapel 

where it stands sentinel (from a human viewpoint). Since reading 


Peter Wohlleben’s The Hidden Life of Trees, I have come to think 

of it as a lone voice: a strong and independent presence. Each 

morning I smell the intense aroma of Eucalyptus – (or is it possum 

piss) as I walk barefoot around its base, my mind awakening to 

the raw sensation of gumnuts crushing underfoot. 

Emeirely Nucifora-Ryan 

Measured Spaces explores ideas of internal space through a 

series of three parts. These objects, through form, are vessels of a 

space or void. The circle represents a possibility of endless space 

through the expansion on all sides, while the materiality explores 

the oppositions between the roughness of concrete, the strength 

of metal, and the lightness and grace of glass. 

I am inspired by the rough masculinity of the Canberra 

Glassworks, which indicates it’s industrial use and age. The 

handmade quality of the lines inherent in the made forms, as 

well as the handmade quality of the drawn line, creates tension 

between the planed, mapped, and built architecture and 

industrialism. My hand etched lines map and interact with the 

light within the void, while also referencing the drawn, mapped 

and traced lines of architecture. To pay homage to the building 

and it’s reclaimed purpose, concrete and metal have been 

juxtaposed with blown glass. 

Meagan Jones, Louis Grant 

One of Canberra’s first public buildings, the Kingston power 

house was built between 1913 and 1915. Designed by John Smith 

Murdoch and built just as the planned Capital arose. This 

beautiful piece of Canberra history is a narrative of industry, 

labour, man and machinery. Now housing the Canberra 

Glassworks, the building is a reclaimed gem open to the public 

and to artists, crafts people and designers alike. A transitory 

space, drenched in light, shrouded in history and built into the 

fabric of the heritage listed building. This collaborative work by 

two Canberra Glassworks Visitor Experiences colleagues, one 

a glass artist, the other an arts manager with a background in 

visual communication, is inspired by the industrialised textures, 

materials, qualities and histories of the building. Photographs 

taken by Meagan Jones, capture fleeting moments within the 

building. Passages of movement are bathed in lustrous light, 

these details are highlighted through the etching onto industrial 

glass, by Louis Grant. 

Louis Grant 

The cast glass elements of this piece were made in 2015 as part 

of a second year exploration into the void, the built environment, 

and urban decay. Originally large and small arcs sat vicariously 

balancing on fine edges or points, holding each other up. These 

studies have been reimagined for this exhibition, responding to 

the original concept and to the new context. 

Cement has been cast onto the glass elements. Inspired by the 

poured cement walls of the 1915 Kingston Powerhouse, the 

moulds were created using wood panels. The wood grain is visible 

through out the cement elements, similar to that of the building. 

Further more, to add contrast, parts of the cement have been 

spray painted, referencing graffiti that was left while the building 

was laid dormant. 

This work pays homage to the narrative and history of the 

building, while playing with the constructed forms of decay and 

the void. 

Lucy Palmer 

Lucy strives to utilise the unique qualities of kiln formed glass to 

create an illusory sense of distance and depth; depicting vast 

landscapes, expansive skies and the quiet horizon where the two 

dissolve. Her inspiration derives from an interest in the incredible 

potential of distance and space to draw the viewer away from 

their immediate physical environment and allow the mind to 

escape. 

Ngaio Fitzpatrick 

A Mandala is a metaphysical representation of the cosmos, or 

a microcosm of the universe. A compass is a type of mandala 

indicating directions on earth, useful as a tool of navigation, a 

symbol of guidance encompassing the known universe towards 

a type of enlightenment. The work responds to the architectural 

window, space and void revealing a secular quality found in the 

elevated proportions, sweeping staircase and ever changing light 

conditions. Industrial steel components are often hidden behind 

building facades and the repurposed vintage glass is often hidden 

in collections, cabinets and op shops, both exposed in all their 

light filled glory in this location. 

Nick Doran Adams 

Born and raised in Ballarat, Victoria, Nick Adams was surrounded 

by history and grew up visiting one of the best collections of 

Australian Art at the Art Gallery of Ballarat. He studied glass 

at ANU, under Richard Whitely and Nadege Desgenetez, 

completing his honours year in 2014. 

At a young age Nick was exposed to early handheld gaming 

devices, such as the Nintendo GameBoy. The characters in these 

games are a basis for inspiration of his work. The images are a 

modern contrast to the ancient process which he used, mosaic 


glass (murrini). Nick recognised potential between the square 

pixels on a GameBoy screen and the stacked patterns made by 

the murrini. 

Nick completed the Emerging Artists Support Scheme residency 

at the Canberra Glassworks, where he developed a body of work 

about glitches out of grey scale to represent the lack of colour 

availability on the old original devices such as the Nintendo 

GameBoy. Still using the origins of the process as inspiration to 

help chose forms that work with the visuals. 

Nikki Main 

#1: Molonglo on Tap 

My glass piece “Molonglo on Tap” is a nod to the often forgotten 

role of water in industry. The Kingston Powerhouse was cited on 

the banks of the Molonglo River to allow for fresh water to be 

drawn up for the coal fired boilers to create steam. I have used 

clear glass to represent ‘tap water’ – water refined for human use. 

The mold for the casting was made using an impression of the 

Murrumbidgee riverbed from a property called Riverview, where I 

lived for twenty years. 

#2: Drawings 1-9 (3 in gallery, 6 in Engine Room) 

Drawing is an integral part of my art practice. It is a way of 

honing my skills at looking, playing with ideas and having a direct 

hand to eye experience. I see it as a major part of the “engine 

room” of my practice. 

I do many observational drawings and drawings that allow me 

to play with materials and effects. I find myself selecting drawing 

materials that mirror my glass making practice in some way. 

When my glass practice was primarily blown glass with powders 

I used to do a lot of ink drawings. Ink is an immediate and 

permanent material, similar to the application of glass powders 

in trails and blobs on my rock forms. Ink mirrors the movement of 

water, significant for glass works that refers to moving water. 

I am currently reigniting my glass casting practice and have 

shifted to using charcoal in my drawings. I use a base of charcoal 

powder and work back into it, much like hand surfacing or 

polishing glass. It is a much slower process with a focus on 

texture. For me the process of hand surfacing glass is very similar 

to the meditative process of applying charcoal powder and 

working back into it. The resultant product in both drawing and 

glass has a softness and stillness, a change from the gestural fluid 

quality of ink and my blown glass. I have been drawing on site at 

the steelworks in Port Kembla close to where I now live. 

Patricia Parker 

Transition conveys the journey of the first 100-years of the 

Kingston Power House from the output of energy in the form of 

electricity to the containment of energy in the creation of hot and 

kiln-formed glass. As the building is heritage listed its evolution 

may see future iterations serving a different purpose. The external 

skeletal image of the building attempts to convey that journey. 

Rob Schwarz 

My work combines glass processes to create simple geometric 

forms that examine the idea of interlocking sections. Inspired by 

nature and architecture, I have built a system where single units 

come together to create new sets of components expanding into 

larger systems that appear to grow continually. This studio-based 

enquiry has informed my research question: How can I use the 

materiality of glass to provoke wonderment in the complexity and 

ingenuity of the amalgamation of elements in even the simplest 

of forms? 

Through the exploration of the properties of glass, I have focused 

on the way structures in nature, specifically the connection 

between soap bubbles, can inform structural design in 

architecture. I examine this through the process of glass casting 

by joining multiple blown glass bubbles into structural forms that 

focus on the interfaces between the bubbles. I have identified and 

drawn comparisons between various elements in nature, design 

and process to influence and guide my making and aesthetic 

decisions - man-made and natural phenomenon, glass blowing 

and casting, multiple components and interconnections. 

The formation of the systems I am creating relies on the 

materiality of glass - clear, fluid and structural - and the ability to 

cast and fuse the bubbles to create the connections. The entire 

process relies on the connection between the two glass processes, 

blowing and casting; one cannot work without the other. 

Structural Void, is an example of taking my exploration of systems 

and relating it to an existing structure. The concrete corridor 

wall in The Glassworks, is a perfect example of the complexity 

in how things are made. Concrete has no form of itself, it had to 

be poured into a mold made from timbers that came from across 

the world. The texture of the wood is ingrained in the concrete’s 

surface. Constructing a building is an amalgamation of systems 

that have their own individual process before becoming part of 

the whole. By inserting my work into the space in this wall, I am 

trying to highlight the features remaining from making process 

in the structure. The slight space between the glass form and the 

existing concrete reveals the organic textured side of the cast 

glass bubbles. This view suggests the idea of nature influencing 

an internal built structure. Even though we may have difficulty 

seeing or understanding the process of how it was made, it 

creates within us a sense of wonder. 


Rose-Mary Faulkner 

The body is simultaneously familiar and foreign to us- it is with 

us always, yet we only ever have a restricted personal viewpoint 

of ourselves. My work presents a study of my own body from this 

unique and subjective line of sight, as I aim to map and record 

the female figure through abstracted and layered photographic 

imagery in order to analyse form and surface. I investigate ways 

to observe and experience the body, expressed visually through 

soft dappled imagery and subtle colour evocative of feeling 

and sensation. My practice primarily explores decal imagery 

on glass. I firstly photograph sections of the body and abstract 

these images through digital manipulation. Transferring them to 

glass, I layer several related images before further manipulating 

the surface and form through multiple fusings or cold working. 

This expands the imagery beyond the original photograph as 

the transparency of glass enhances layering for the purpose of 

depth and overlapping, which enables me to utilise the specific 

materiality of glass to suggest bodily form. I also enjoy the 

process of marking the surface, tracing the lines of the images to 

become almost like a topographical map. Through this work I am 

also able to consider the role of the gaze and express a female 

perspective on the female form. 

Ruth Oliphant 

This works looks at how the changing light throughout the day 

interacts with the building that houses Canberra Glassworks. 

Through this interaction it marks the passage of time. I have 

spent many hours at Canberra Glassworks, at all different 

times of the day. I have observed the changing light through the 

windows of the Engine Room over many years. This work is about 

the relationship I have built with this space over the years and 

how it is constant but always changing. 

Windows have always played an important role in my work and 

in this exhibition they act as the threshold between the inside and 

outside world, through which change happens. 

Scott Chaseling 

Scott Chaseling’s practice reveals sculptures that represents a 

liminal space between a sense of place and one of being lost. 

Chaseling presents art works relating to Heterotopia (a place 

between Utopia and Dystopia). 

By constructing with glass and mirrors, these artworks 

demonstrate that it is possible to establish a liminal space that 

consists only of a state of becomingness. Liminality, in this 

application, is characterised by the unsuspecting, abstraction 

and innocence. 

The sculptures and wall works reveal a point of transition, either 

through materials that are in a liminal process or by exploiting the 

viewer’s visual perception. This temporal shift of reading, along 

with a change in material expectations, will allow the viewer to 

participate with the sculpture via the introduction of their own 

interpretation/s. 

Simon Maberley 

Clean air and clean water make sense. The notion that you 

can make coal “clean” is an oxymoron. The damage to our 

environment caused by coal mining and coal fired power 

generation clearly contradict the assertion that “coal is good for 

humanity”. As we reaching a tipping point, the balancing act is 

becoming harder and harder maintain. What can you live without 

– cheap power or clean air, water and a stable climate? 

Sophia Emmett 

For the glassblower, the breath – blown into molten glass – is the 

material and the process of art making, but whatever our calling, 

we take for granted our right to breathe clean air. Humans 

breathe on average twenty-five breaths a minute, 8.5 million 

breaths a year, or six hundred seventy-two million, seven hundred 

and sixty-eight thousand over an eighty year lifetime. 

Our breath – the air we breathe – links us to the ancestral past 

and the generations of the future. It is our most precious tenure, 

though we have no possession of it: breath is only a means to an 

end, and the end of breath is the end of us. 

Twenty-five breaths draws awareness to the ephemeral and 

invisible signature of a single breath. The cloud-like array of 

glass bubbles were blown in the hot-shop by twenty-five people 

aged between four and ninety-two. The height at which the 

transparent ‘lung prints’ are suspended registers the standing 

height of each subject, creating a transparent portrait of the 

individual and a ghost of the group. 

The lifetime rhythm of inhaling and exhaling enters us into an 

unspoken contract, the cost of exchange mostly ignored. Gasping 

represents our instinctive greed for resources: air, water, fuel, 

material. There is a fine line between drawing breath and sucking 

the life out of our shared inheritance. We may sigh in despair, or 

we may take a deep breath and take a bit less. 

Stephen Skillitzi 

Stephen Skillitzi’s artistic aspiration to become an innovative 

solo maker in the Crafts Movement, focusing firstly on Clay then 

Glass, was initiated 55 uninterrupted years ago in 1960 at age 

13 via his homemade solo-use electric-kiln and ceramics studio. 

his diverse ongoing career embraced 1/ Academia:-studying// 


lecturing/demonstrating/course initiating/mentoring (both in 

USA 1967-1970 and Australia 1970 to present); and 2/ Glass 

(blown and/or cast: for exhibition, corporate, home-wares 

projects and commissions); and 3/ Non-commercial (street 

theatre/performance, environmental installations, playable 

mixed-media games). Following his brief pioneering involvement 

in the 1960’s USA university-centered Glass ‘renaissance’, he 

returned to Sydney to establish the very first independent furnacefocussed 

Glass Studio in Australia springing from a 4/1971 Craft 

Board grant (its first for Glass). Obviously other mainstream 

glass products, techniques and factory traditions were already in 

place. Since then other craft-artists have fundamentally matured 

and broadened the nation’s Studio Glass profile propelling it into 

justified international prominence, eclipsing its humble ‘Studio’ 

origins of 1971. That multi-faceted Aussie Glass history (which 

has come to dominate the Crafts scene) was 1/ outlined by 

Skillitzi, his scholarly paper is online, and presented at the 2009 

conference of Ausglass, (the ‘backbone’ association supporting 

Aussie glass activities since 1978).Skillitzi has attended every 

bi-annual conference; and 2/ been documented by him in the 

“Eminent Persons Program” archived at the National Library, 

Canberra. Skillitzi’s contribution to Australian Studio Glass was 

acknowledged via ‘The Ausglass Medal’ for 2015. 

of stitching. This further exploits the complex dichotomy of the 

‘speaking subject’ narrative in my artworks. Abject experiences 

are dispelled and imbued in the material when the objects 

unexpectedly tears, shreds, pulls and breaks apart so it is on the 

edge of falling apart, or holding itself together, paradoxically 

giving it strength and tenacity. 

1 

Pâte de verre is French for glass paste 

2 

Kay Moloney Caball, Kerry Girls: Emigration and the Earl Grey Scheme (The History 

Press, 2014). The Kerry Girls, (2014) is in-depth account of the Irish famine is it affected 

Co. Kerry in southern Ireland, an over view of the Earl Scheme. It includes details case 

studies and witness accounts which follow some of young Kerry female famine orphans 

that were transported to Australia to work as indentured domestic servants, as part of 

the scheme. 

Ursula Halpin 

Working between Ireland and Australia my visual arts practice is 

characterised by a deep relationship with my homeland in Ireland, 

my Irish language and culture. I forge connections between my 

artwork and Irish literature that evoke the textile traditions of 

my childhood while exploring the emotional implications of my 

material. My visual vocabulary uses a pâte de verre 1 technique, 

a-kin to lace making as I ‘stitch’ my work slowly and meticulously, 

summoning and weaving the histories of vulnerable women 

into my work, mimicking the domestic technique and decorative 

household objects. 

I have been creating artwork in response to research carried out 

on residency at Canberra Glassworks in April of this year. While 

there I uncovered the fates of some of the Irish famine orphans 

that were part of the Earl Grey Scheme 2 that saw up to 4000 

thousand young Irish women ages 9-17 sent to Australia from 

Irish workhouses as indentured domestic servants from 1848- 

1852. 

My chosen material, is both strong and fragile. The tension 

between the ease my material can break and strength of its 

structure echo the narratives of my work; vulnerable, resilient and 

survivors of abject experiences. 

Using the serendipitous nature of my kiln firings, the initial 

element of control is cast aside in subsequent firings as my objects 

are slumped, stretched and torn, making visible the undoing 


HOME IS WHERE THE HEAT IS | 26 OCTOBER 2017 TO 14 JANUARY 2018 

Catalogue of works

Ngaio Fitzpatrick 

Glass Mandala, 2017 

glass, steel 

150 x 150 cm 

$2,800 


Sophia Emmett 

Twenty Five Breaths, 2016 

blown glass, mesh 

dimensions variable 

POA 


Ursula Halpin 

Náire Orthu, 2017 

pate de verre 


POA 


Simon Maberley 

Clean Coal?, 2017 

glass, coal, water, stainless steel 

60 x 15 x 20 cm 

$1,890 


Ruth Oliphant 

Crest, 2015 

kiln formed glass 

68 x 36 x 0.8 cm 

$2,600 

Ruth Oliphant 

Passage of Time 2, 2015 


78 x 42 x 1 cm 

$2,000 

Ruth Oliphant 

Golden Hour, 2015 


68.5 x 37.5 x 0.8 cm 

$2,600 


Ruth Oliphant 

Half Light, 2015 


68 x 37.5 x 1 cm 

$2,600 


Jacqueline Knight 

Flight, 2017 

hot-sculpted glass, steel 

30 x 80 x 15 cm 

$3,300 


Scott Chaseling 

A Day At Home, 2017 

coffee and wine on paper 

40 x 60cm 

$350 


John White 

Needle in a Haystack, 2017 

kiln formed glass, steel, timber and glass base 

90 x 45 x 35 cm 

$11,500 


Nikki Main 

Meanderings: the Engine Room of an Artist Practice 

Contemplate, 

2017 

Taking a line for a walk 1, 

2017 

Caught in Thought, 

2017 

Generate, 

2017 

Taking a line for a walk 2, 

2017 

The Heat is on, 

2017 

charcoal powder, 

charcoal, paper 

53.3 x 43.4 cm 

$300 



53.3 x 43.4 cm 

$300 



55.9 x 43.8 cm 

$300 



55.9 x 43.8 cm 

$300 



53.3 x 43.4 cm 

$300 



53.3 x 43.4 cm 

$300 


Nikki Main 

Light Bulb Moment, 2017 

charcoal powder, charcoal, paper 

53.3 x 43.4 cm 

$300 

Nikki Main 

Outpouring, 2017 


53.3 x 43.4 cm 

$300 


Nikki Main 

Dam Plan, 2017 


53.3 x 43.4 cm 

$300 

Nikki Main 

Molonglo on tap, 2017 

cast glass 

30 x 30 x 3 cm 

$1,800 


Jennifer Kemarre Martiniello 

Confluence Landscape #1, 2017 

blown glass, murrine 

38 x 13.5 cm 

$6,000 


Rob Schwartz 

Structural Void, 2017 

cast glass 

53 x 46 x 15cm 

$8,500 


Meagan Jones 

and Louis Grant 

Transitory Spaces 1, 2017 

etched glass, photo print, ply 

42 x 30 x 1.2 cm 

$250 each ($900 set of four) 

Meagan Jones 




42 x 30 x 1.2 cm 



Meagan Jones 




42 x 30 x 1.2 cm 


Meagan Jones 




42 x 30 x 1.2 cm 



Louis Grant 

Built Decay, 2017 

cast glass, concrete 


POA 


Nick Doran Adams 

Single Player (white), 2016 

blown and carved glass, murrine 

20 x 12 cm 

$1,500 

Scrambled Egg (grey), 2016 

blown and carved glass, murrine 

20 x 12 cm 

$1,500 


Rose-Mary Faulkner 

Traced IV, 2017 

kilnformed glass, decals 

each panel 12 x 9 x 0.7 cm 

$560 


Emeirely Nucifora-Ryan 

Measured Spaces, 2017 

blown glass, cast concrete, nickel silver 


NFS 

Lucy Palmer 

Atmos, 2017 

kiln formed glass, aluminium 

20 x 10 x 6 cm 

$400 


Elizabeth Casling and 

Graeme King 

Antarctica, 2015 


33 x 35 x 9 cm 

NFS 

Graeme King 

Curved, 2014 


39 x 12 x 1.7cm 

NFS 


Elizabeth Casling 

Divergent on black, 2017 


20 x 20 x 3cm 

NFS 



Ellen Collins 

untitled #1, 2017 

cast glass 

9 x 6.5 x 5.5 cm 

$380 


cast glass 

9 x 6.5 x 5.5 cm 

$380 


cast glass 

9 x 6.5 x 5.5 cm 

$380 


cast glass 

9 x 6.5 x 5.5 cm 

$380 


cast glass 

9 x 6.5 x 5.5 cm 

$380 


cast glass 

9 x 6.5 x 5.5 cm 

$380 


Mark Elliot 

A Mind of It’s Own, 2017 

blown, hot-sculpted and sandblasted borosilicate glass 

50 x 30 x 30 cm 

$4,900 


Sui Jackson 

Memory Drift, 2017 

crystal 


$3,000 


Stephen Skillitizi 

The Confrontation, 2017 

photo print 

60 x 70cm 

NFS 

Stephen Skillitizi 

The Ventriloquist, 2017 

photo print 

60 x 70 cm 

NFS 


Sydney Noble Edwards 

Kingston Powerhouse, 1914 

glass, photo print 

courtesy of David Paterson 

NFS 


Wendy Dawes 

Untitled, 2017 

cotton, Aida, embroidery hoop 

16 x 16 cm 

POA 


Patricia Parker 

Transition, 2017 


49 x 24 x 12 cm 

$1,400 



Exhibition partners 

Canberra Glassworks is supported by the ACT Government through artsACT and the Australian Government through the Australia Council, its arts funding and advisory body. 

Major Sponsor Exhibition accomodation partner Wine partner 

Photographs: Adam McGrath 


canberraglassworks.com 

11 Wentworth Ave, Kingston ACT 2604 

T 02 6260 7005 

E contactus@canberraglassworks.com 

opening hours 

Wed to Sun 10am to 4pm

Home is where the heat is

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