Kate Baker at the National Art Glass Gallery…

27 08 2017

Michael Scarrone, curator of the National Art Glass Gallery in Wagga Wagga, has just sent through a tantalising set of snaps from their current show, Kate Baker: Within Matter

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Have to say, it looks pretty special [and, as always, it’s a marvellous hang; love your work, Michael. n(Ed)]

We’re dropping in the media release for people’s general info and edification…

Media Release - Kate Baker - Within Matter-1

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A lovely serve of the ethereal, gorgeous in that evening light.

On until the 8th of October – plenty of time for a road trip.

 

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And what’s on now…

10 09 2015

Currently showing at Wagga Wagga: Forget me not, featuring the work of Kristin McFarlane and Brenda Page…

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Wagga Wagga Art Gallery

Home of the National Art Glass Collection

Forget me not. Kristin McFarlane and Brenda Page

Exhibition Dates: Saturday 11 July – Sunday 11 October 2015

This exhibition presents a collection of glass time capsules incorporating family heirlooms and personal items to illustrate ways we attempt to remember and preserve the past. My body of work looks at ways that people have tried to hold onto memories through the collection of letters, mementos, clothing, photographs, botanical specimens and ephemera.

The thoughts and personal narratives evoked illustrate how lines from a letter, a faded photograph, piece of music or a fragment of fabric can trigger emotions and memories. When these are fused within glass the fragile qualities of the material allow these sentiments to be transformed into pieces which illustrate the delicate balance of life, relationships, memory, fragility and longing. The objects and images explore fragility, loss and transience through a collection of preserved and delicate items combined with glass and are not so much about remembrance rather than the act of not forgetting – ‘Forget Me Not’.

Kristin McFarlane

 

My current body of work explores mourning and loss. This is not confined to the topic of death but encompasses losses we experience over a lifetime. I see our lives as a series of compartmentalised stages, a series of short stories that entwine and overlap. As one of these tales closes another opens, giving us an opportunity to reflect and mourn what has past and what will never be again. I want my work to have an emotional honesty, most times seemingly ambiguous but with that undefinable something that speaks to the heart of anyone who cares to engage in the stories told. My imagery and visual style is heavily influenced by Victorian aesthetics associated with mourning and death. I have chosen to use such a visual style to explore my concepts as it has a universal clarity about its intentions. The use of glass underlines the narrative, speaking of fragility and simplicity.

Brenda Page

 

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Get with the program, peeps – take a family drive.

[Thanks Mikey. n(Ed)]

 





Gone but not forgotten…

10 09 2015

Evidence in Possession: The formative years of Australian Studio Glass, an exhibition celebrating the first 10 years of the movement in Oz, has wound up now – but for those you unable to make it Michael’s sent through a very sweet visual bouquet…

 

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EVIDENCE IN POSSESSION

The formative years of Australian Studio Glass

The National Art Glass Collection’s historical and international significance was the focus of this exhibition in early 2015. This exhibition was presented in the National Art Glass Gallery in conjunction with the fortieth anniversary of the Wagga Wagga Art Gallery.

Curated by Dr Denis O’Connor and the Gallery’s curator of glass, Michael Scarrone, Evidence in Possession reveals the key role that Wagga Wagga played in the promotion and encouragement of studio glass in Australia. Australian glass artists are now world-renowned for their skills, and Wagga Wagga Art Gallery’s eagerness to support this artform as it emerged helped shape its future.

Studio glass activity began in Wagga Wagga in the mid 1970s, with visits from American glass craftsmen such as Professor Bill Boysen, Richard Marquis and Sam Herman. At the Riverina College of Advanced Education (now Charles Sturt University), lecturer John Elsegood established one of Australia’s first hot glass teaching studios. And in 1981, the Gallery’s director Judy Le Lievre launched the first national exhibition of Australian contemporary glass – the first of many and the foundation of the National Art Glass Collection.

Prominent glass pioneers whose work is celebrated in Evidence in Possession include David Wright and Klaus Zimmer for their ground-breaking flat and stained glass pieces; Richard Clements and Peter Minson for their lampworking and flameworking; Anne Dybka and Helmut Hiebl for their specialised cold glass engraving processes; and the complex sandblasted surfaces of Tony Hanning.

Also featured in the exhibition were the multi-faceted kiln-formed works of Neil Roberts and Warren Langley, alongside the free-blown hot glass of Peter Docherty, Con Rhee, Gerry King, John Elsegood, Julio Santos, Nick Mount and Denis O’Connor. Further displays showcased the innovative approach to concept and technique of Brian Hirst, Richard Morrell and Rob Knottenbelt, as well as the invaluable experience, processes and passion of international visitors Sam Herman, Richard Marquis and Bill Boysen.

 

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EIP artists
The catalogue for Evidence in Possession: The formative years of Australian Studio Glass is on sale at the Wagga Wagga Glass Gallery shop.

For enquiries, please contact the gallery shop on 02 6926 9660.

 

[Thanks Mikey. n(Ed)]





The National Student Art Glass Prize…

1 04 2012

 

Don’t fret if you missed the opening (the Gang did tooit clashed with the Tweed River opening of TdF), this show runs until 16th June so there’s plenty of time to mosey across.

Meanwhile Michael’s been kind enough to send all the g(l)oss, from the announcement of the winner…

 

 

…to lots of lovely snaps…

 

 

…and the catalogue essay…

 

Encouraging the next generation 

The National Student Art Glass Prize 2012 (NSAGP) rewards creativity, innovation and quality. It’s not the artist’s reputation or name being judged but the artistic merit technique and innovation behind their art practice. The NSAGP is an acquisitive prize and is open to all artists studying art glass at an Australian University. The quality of work coming out of these institutions meant the inaugural biennial NSAGP (2010) had 40 artists from around Australia short-listed and was then reduced to 24 finalists with Belinda Toll from Australian National University in Canberra, taking out the top award. This year 45 artists have been short-listed and from this 30 finalists have been chosen.

The NSAGP exhibition is an eagerly anticipated opportunity to view a cross section of art glass being produced in this country and is a major highlight on the Australian art glass calendar. The passion and commitment shown by the lecturers, tutors and academics from Sydney College of the Arts at University of Sydney, Monash University in Victoria, South Australian School of Art at University of South Australia, The School of Art at the Australian National University in Canberra, Edith Cowan University in  Western Australian is overwhelming and inspiring.

As with the inaugural 2010 NSAGP,  the winner of the 2012 prize will not only have their work acquired into the National Art Glass Collection but will receive two Masterclasses at the renowned North Lands Creative Glass Centre on the north east coast of Scotland as part of North Lands International Masterclasses and Conference Program.

The Australian studio glass community is highly professional; this is due in large part to the institutions and the training artists receive. It is because of this professional attitude and the vast variety of techniques that national and international collectors have a passion for Australian contemporary art glass.

Australian institutions are having on the next generation of art glass practitioners and offers a glimpse into the future of this magnificent art form.

The national and international recognition of the NSAGP continues to expand and to fulfil one of its core task’s; to help develop and promote the profile of new artists. Once again the Wagga Wagga Art Gallery is delighted by the quality of work on display and is proud to be fostering the next generation of Australian contemporary art glass makers. 

 

Our own faves were Emma Borland…

 

 

Spike Deane (which we’ve shown before)…

 

 

and Marcaela Faithfull…

 

 

Especially the last; so sweet we could eat it.

All refreshingly fun (ie not taking themselves so bloody seriously – which is an artform in itself, we reckon.)

Flick through the snaps here.





Just in from Wagga Wagga…

30 01 2012

Our fave intra-continental correspondent, Michael Scarrone, has sent us the latest scoop from The National Art Glass Gallery…

But we have to fess up that we’re really not sure whose work is whose, and it’s an indictment on art theoretic /so-called professional practice frankly that artists feel compelled to give such incredibly obtuse statements about their work that it’s a little confusing, without labelling, to figure out exactly which goes with what….more off-putting than connecting, let’s face it. And it’s all about communication, lovies…isn’t it?

[This is not a criticism apropos the lack of titling of the sent images themselves – the work ought to be sufficiently self-explanatary…to at least provide some visual hint. It turned into an interesting guessing game here at the Hideout – three of us (a woodie, a gold & silverie and a glassie) trying to match up image with artist statement. By the end we were none the wiser. It was generically interchangeable.  And once again those dreaded words ‘memory’ and ‘place’ bobbed to the surface like the infernal floaters they are. God in heaven save us. n(Ed)]

Actually, we quite like the titty glass (above). But the French dude getting arrested for the fake implants so recently might be influencing us subliminally…

And it’s a totally differently reading in the next shot…

So in the end we’re left a little clue-less.

That being said, bones and skulls always work for us, no contest. Perhaps it’s just that old renegade thang.





Wagga Wagga wow factor…

3 10 2011

We love Wagga Wagga as an exhibition space, but we have to admit we’ve possibly never seen it look so good – some work is just custom made for the place. Ruth Allen’s latest makes the joint literally ZING...

  

Ruth Allen

Counter-sync

  

The cutting edge of contemporary glass comes to Wagga Wagga’s National Art Glass Gallery in Counter-sync, an exhibition of works designed and created by artist Ruth Allen as part of her Synergetic Series. Allen has been developing methodologies unique to her synergetic expression since the year 2000; her relationship with the material glass is the catalyst for the design science of her ideas. This symbolic relationship between maker and material, technique and process has allowed the physical idea to come to fruition. Focused research has nurtured the scientific, theoretical and conceptual contribution to the development of Ruth’s expression.  

  

Allen says, “I strive to challenge perceptions of the potential of the medium; grounded in traditional hot glass techniques I choose to work sculpturally and often within an installation context”. The Synergetic Series is strongly influenced by the sustainable philosophies and designs of visionary thinker Buckminster Fuller, whose theory of Synergetics was an attempt to create a scientifically based poetics of experience. Fuller studied the inner geometries of the universe to design sustainable structures and cities, which focused on the synergy of the health of the planet, individuals and communities.

 

Allen’s abstracted works resonate on many levels with the organic forms, cellular structures and postmodern architectural compositions that proliferate in our natural and built environments. Large scale installations of forms combine with lighting effects to bring the phenomena of shadow into play.  

 

Counter-sync will be launched in the National Art Glass Gallery at Wagga Wagga Art Gallery on Friday, 23 November. The exhibition will be on display until Sunday, 13 November.

  

A Wagga Wagga Art Gallery Initiative.

Exhibition Dates

Friday 23 September – Sunday 4 December, 2011

                                                               

More snaps here.





Liz takes Wagga…

15 11 2010

…and the Gang’s breath away while she’s at it.

 

 

Just in from Michael Scarrone is all the scoop on Liz Kelly’s new show at The National Art Glass Gallery in Wagga Wagga…

Wagga Wagga Art Gallery is pleased to show at the National Art Glass Gallery Elizabeth Kelly’s exhibition titled Tangerine Gold.

Elizabeth Kelly’s art practice is currently engaged with the architectural and engineering potential of glass, and the built environment is a major theme in her work. Kelly is interested in how systems and patterns function in construction engineering and has adapted industrial production methods to small-scale studio practice, experimenting with techniques of multiple casting of glass components to make large-scale sculptural forms. She is also interested in exploiting the properties of natural light within these glass structures and colour is a very considered element in the work.

Kelly travelled extensively through Europe and Asia before commencing a full time factory traineeship in glass blowing in 1985 at the Jam Factory Contemporary Craft and Design Centre in Adelaide. After studying at the Adelaide Centre for the ARTS and the Australian National University School of Art she taught at Sydney College of the Arts, University of Sydney. Directly upon completion of her Masters degree in 1997 she commenced a three-year contract as Head of Glass Workshop at the Jam Factory Contemporary Craft and Design Centre in Adelaide.

In 2003 Kelly initiated Studio Tangerine in Canberra, a purpose built self funded glass design and sculpture studio where she continues to work.

 

 

How fabulous it is.

And, look people, so refreshingly individual – what a concept.  With any luck it might catch on (ie that quaint old idea of signature originality/individuality.)

Anyhoo, it’s very cool, and very Liz.

Love the column biz, especially this little number on the right…

 

 

…great play on the art historic. We’d snap it up if we had (buckets of) the ready.

 

 

Effen brilliant.

 

 

More snaps here.

Exhibition runs until January 16th 2011.

Thanks Mikey.