I am just getting a moment to write a post after returning from the KIGA 2014 exhibition opening at Kirra Galleries in Melbourne.
Although it would have been a great honor to have won the award for this prize, I am happy to say that it was awarded to Robert Wynne for his work titled, "Raven's Clutch". Congrats to him! The piece is a nice one and he is a great guy.
To see a bit more of the exhibition, check out the show catalog here and a short national news segment done about the show here. Here are some additional images (and a short video) of my entry for the KIGA 2014 exhibition titled "The Acquisition":
On the day that I returned from Melbourne, I had the great pleasure to present a talk at Questacon (The National Science and Technology Centre) here in Canberra. This talk was part of their Torque talk series about science in the everyday by people who are not necessarily scientists. The title of my talk was "The Beautiful Science of Glass". In it, I showed some images of projects and pieces that I have worked on and discussed three scientific glass topics related to this type of work (why glass is transparent and solid, what can a fracture in glass tell us and how long does glass last). I appreciate Questacon's interest, everyone who was able to make it to the event and anyone who was able to make it through all of my rambling. Here is a shot of the night:
This week I am off to Melbourne to attend the inaugural 2014 Kirra Illuminating Glass Award (KIGA).
I decided to submit a piece to this exhibition to expand the spectrum of my practice and the scope of my concepts and constructions. I am happy to say that my entry was accepted and am excited to see the rest of the work in the exhibit. You can catch a sneak peek of all the pieces here.
My work is titled "The Acquisition". It is a mixed media work (wood, glass, metal and light) that is 750mm w x 500mm d x 750mm h.
Here is the quick description that I wrote about the work for the catalog:
"The oscillating glow that emanates from the seemingly solid shape within the sealed and slated wooden shell of The Acquisition is held to a slow and steady rhythm. The continual cadence of the form's inner light animates this simple shipping crate into an active agent of delivery. The exact contents of the crate, their importance and their current condition is unknown. In accordance to its title, The Acquisition may supply an item of desire to be obtained or perhaps this crate might hold within it a metaphoric tool that could lead to the transference of a realization. With every ebb of its interior light, this work quietly asks for patience into the inquiry of how its conveyance will connect and affect the agencies of both its sender and receiver."
The photos of this work were taken by my photographer Rob Little. During his time photographing this piece, he generously shot this quick video of it. Please take a look:
In a previous post, I mentioned that American Craft was running an article that included an image of my work. The article has been put online and is available to view here.
Although I am not specifically mentioned in the article (it has to do with a more over-arching topic), there are a couple images of my work in the corresponding photo gallery of artists work related to the topic. Although it is a small part, it is still nice to be included and considered in the field.
As well, the winner of the Tom Malone Prize 2014 has been named. It was Mel Douglas for her work Camber.
I was lucky enough to be a finalist once again for this prize (for one of my Barrel Series works--seen below). I had no expectations of winning the prize since it has never been my luck. In fact, I am always genuinely surprised and happy if I am selected at all to be included or chosen as a finalist.
I have been notified that there is an image of one of my pieces in the upcoming issue of American Craft magazine. There is a link to a short video that introduces the upcoming magazine issue here.
The image they selected for inclusion is one of my Watertower Series works. It is utilized as a visual component within an article titled "The World Beyond Studio Glass" that discusses the Glass Secessionism group initiated by Tim Tate and William Warmus.
I am always excited to have my work included in American Craft and in any discussion of artwork made utilizing the medium of glass. With this said, I haven't read the article. I hope it is kind and that my inclusion is not used to illustrate "what not to do"...we will soon see...
I have developed a notion that the sun seems to be rising and setting in an ever quickening rhythm.
This fact deftly dawned on me when I realized that today is already 2/23 of 2014. So, in respect to the apparent acceleration of time, I thought I would take the opportunity to pause and compile a small collection of images from a month that feels as though it passed in a moment...
2014 has started off in an excellent direction!
Thus far, I have been able to safely deliver some new work overseas, complete some long standing domestic duties, begun moves towards advancing my research and have recently been informed of a sweet mention on Alice Pixley Young's website. I hope this streak of productivity and pleasantness progresses throughout the year!
If you have a chance, please check out Alice's amazing work here.
Last week, I completed the construction of eight custom lights that were designed by Adam Goodrum for the Molonglo Group.
The major components of this project were made possible by utilizing the skills of two other fabricators/craftsman to help create a couple crucial aspects of the design's construction. The first was to get the wooden blow molds made by Vert Design. The other was to get the glass forms blown with the skill and studio of Ben Edols and Kathy Elliott.
The rest of the job was to fabricate the hardware, coldwork the glass, assemble the components, and wire the lights.
Here is a small collection of images from the construction archive:
Fantastic news was found this morning between the pages of the Canberra Times.
The exhibition that Netty Blair and I have at the Beaver Galleries was reviewed by Kerry-Anne Cousins.
It is great to know that the show was well received, well perceived and then put in print.
If you have a moment, please check out the article here.
Yesterday, after several months of fabrication (stalled by my trips and travels), I was happy to finally install a custom light that was designed by Trent Jansen.
I was hired to bring the design into form but must say that since this light is fully custom it was the result of many hands. The actualization of this light needed the guidance and input of the designer as well as the assistance of glassblowers, a cold worker, a waterjet cutter, a powdercoater, a machinist, a neon fabricator, a small team of electricians and the patience and patronage of the client.
Here is a small set of images showing a few of the many steps taken to construct the light:
The construction of my concepts typically employs many little coordinated steps in order for each work to arrive at its desired destination. I do not always take these steps alone. The path through the production of my recent work has involved suppliers, outside studio rental, a waterjet cutter, a powder coater, a photographer and luckily a gallery to show the results of the labor.
Most times the effort given by all of these contributors is not visible in the final presentation of the pieces. To see the general steps taken to construct the Compile and Trailer series, I have added a small image library for each of their construction here.
Beyond the efforts and assistance in the creation of the works, my career benefits from existing within a vibrant creative culture. This culture includes other artists and art related organizations and institutions that provide additional support and help to encourage continual creating.
To this point, I would like to acknowledge the National Association for the Visual Arts (NAVA) for the Australian Artists’ Grant they awarded me to document the works for my recent exhibition. This particular grant is a NAVA initiative, made possible through the generous sponsorship of Mrs Janet Holmes à Court and the support of the Visual Arts Board, Australia Council for the Arts.
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