Home is where the heat is

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