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10 months ago

Home is where the heat is

glass (murrini). Nick

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

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

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