Ausglass Magazine

A Quarterly Publication of the

Australian Association of Glass Artists

SPRING EDITION, S

Registered by Australia Post. Publication No. SSG 1446.

ContentsExhibitions in Review

Glass ArtExhibition Jan BlumGlass Artist in Profile - Ede HortonGlass Sculpture - Neil RobertsArchitectural GlassPilchuck '87Exhibition NewsLetters to the EditorConference Paper in ReviewGeneral InformationWorkshops CompetitionsWorkshops Competitions

FRONT COVER:Left: Jan Blum' Femme de la Nuit'One of seven works in her Naughty Bits collection

Right: Ede Horton. Glass window

NEXT ISSUE:All contributions must reach the Editor C/- 31 2 a Unley Rd.Hyde Park. S. A. 5061 by November 16th 1987

1897 Committee Members S. A.President: Nick MountVice President: Berin Behn (flat glass)Vice President: Gerry King (hot glass)Secretary: Judy HancockTreasurer: Jud ChatfieldEditor: Jan AspinallMemberships: Declan SomevilleCommittee: Alex Wyatt. Peter Tysoe. Jan Beyer

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ausglass.magazineSPRING EDITION1987

EditorJan Aspinall

Co- EditorAlex Wyatt

Assistants:Rosemary PrenticeKate ForrestGreg PriceBerin BehnEva Kemp

Letters and Correspondence to:312aUnleyRdHyde ParkS.A. 5061Ph: 272 3392 or271 2820 a.h.

MEMBERSHIP ENQUIRIIESDeclan Somerville

68 B Woodville Rd.. WoodvilleS.A. 5011 Ph: 2683124

Printed by Solar Print, 4 Albert St., Thebarton

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EXHIBITIONS IN REVIEW

JUGGLING REALITIES

Deborah Cocks at The Glass Artists GalleryAugust 3 - 29 1987

Reviewed by Marilynne Bell

Deborah Cocks solo exhibition at the Glass Artists Gallery, "JugglingReality" is the mature realization of a variety of approaches to glass,mixed media assemplage and origins in figurative representation.Three lamps lit the entryway. Tiered "Totem" lamps with etchedscenarios in black and white speak to vanity, interpersonalrelationships and peer group pressure, In the latter "Totem" avulnerable appealing person is curled up in a self-protective posturewhile supplented by a group of men as the howling chorus ofconformity.

Two painted wall panels entitled" Elysium I and II" invite one firstly

MAD PLATTERS

Sallie Portnoy at The Acess GalleryJuly8 - 26 1987

Review by Marilynne Bell

When en route to a ceramic workshop in New York in 1984Sallie Portnoy found herself in a friend's glass studio with time onher hands. glass on the table and that indefatigable need to makesomething. In Canada she studied ceramics at the University ofManitoba in her home city of Winnepeg and later in Nova ScotiaCollage of Art and Design in Halifax.

Having lived in Australia for two years prior to her studies she hadretumed in 1981 to work at Tarikido Pottery in Victor Harbour, inSouth Australia. The following year she moved to Sydney setting upa pottery in Narrabeen.

The initial experiments wih glass fusing had triggered an interestwhich culminated in a glass workshop which virtually took over herapartment Ceramics and glass vied for her attention that year whichultimately resulted in the production of a line of jewellry andwearable set in flush glass. Over the next year she extended theprocess into larger fused slumped slumped vessels and platters,More recently Sallie was affiliated with Sydney College of Art Thisassociation allowed her access to larger kilns and a cold workshop.The sophistication and scale of her platters increased dramatically.She was able to realize her design ideas, The resulting Mad Platterseries was exhibited recently at Access Gallery, a newer Sydney fineart gallery housing varied media.

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to read the pictoral story of Stella and the Jester, then a written storyscript establishing the circus metaphor. Jugglers toss paper thinglass balls or fall free-form from fluttering glass parachutesdecorated as rich woven tapestries. Cast glass jesters headshandled like mirrors, stare out of pastel lamp housings, encouragingself-identification. Harlequin masks encircle glass cylinderssprouting swirled pulled glass rods. They lay on white Dori columnsdecorated with cane laced bottoms. Butoh dancers howl andfacially contort on a blue glass bowl while dancing in overcoats.Deborah Cocks wants us to acknowledge the ways in which weperceive ourselves and others, then she wants us to take a step backin order to laugh, grimace or grin at life's mundanities and ironies.

Sallie Portnoy "Contemplates 1" 1987 Fused and Slumpedglass

The "Three Sisters" in blacks, greys and pastels with surface lustredecoration each earlier vessels while evidencing a new refinement"Contemplates" employed bold graphics with an organicgeometry reminiscent of the Australian bush. The "Mad Platters"combined a cacophony of colour in whimsical patterns whichevoked a visual rhythm of ordered chaos. Brush work and surfacemarkings in gold and silver lustres have become Sallie Portnoy'ssignature.

An exciting movement in Sallie's work has been towards figurativefused sculptural forms. Inspired by Aboriginal cave drawings shehas reinterpreted these with her own sensibility. An amalgam that isgenerating pleasing results. A recent move to a new expandedstudio space will facilitate her current explorations.

GLASS ARTKiln formed· at The Beaver Galleries (Canberra)

Beaver Galleries, Canberra, chose kiln formed glass art asthe medium for its annual invitation award show. The artists,who were represented commercially by the gallery, werePeter Crisp, Judi Elliot Michele Fermanis-Winward, IanMowbray Sallie Portnoy and Vicki Torr.

Klaus Moje, in awarding the prize to Vicki Torr,gave an interesting potted history of the studio glass. Healluded in particular to the growth of interest in Americanstudio glass, as reflected in the massive increase in averageprice - a trend which we would certainly applaud inAustralia.

Vicki's prize winning piece was a large bowl consisting ofopaque black fused, cut and refused squares ornamentedwith pastel threads and beads. The strong geometricimpact on of square and line was refined by the overallshape of the bowl.

Peter Crisp's work again demonstrated his skill and controlover pate-de-verre. Of particular interest were his Cloisonnebowls using clear canes of glass with pink and white fusedpate-de-verre ornamented with white and green dots ofpate-de-verre. In the midst of these geometric contructionsfloats a delicate free form translucent bowl.

Strong geometric elements also characterised Judi Elliot's"Architectural Series"

Sallie Portnoy's "Mad Platters" continued the celebration ofcolour in a carnival tone.

On a more sophisticated note Sallie her control of colour inher "Three Sisters III" and "Platemates. " Her"Contemplates" were also quite sophisticated, usingiridised glass shards suspended in clear glass "taped"

,together with the opaque black silverstriped amoebic forms'which are Sallies current trademark.

The two most thoughtful or thought provoking works werethe presentations by Ian Mowbray and Michele Fermanis­Winward. Ian's black humour was revealed in three"snowballs" entitled "Dining Alone," "Room for One" and"What the Hell"

Michelle presented wall pieces which were statementsabout light This "sun" series used kiln fused flat glass cut onscuptured lines, over segmented drawings with differingcolour themes. The show was impressive for reasons otherthan the works presented. Betty and Ron Beaver know theirpublic a'nd managed to draw a large audience. Also, therewas solid media coverage from two newspapers and a radiostation. All of those and a cash prize as well ... would thatevery gallery contributed as much.

Kevin Fermanis-WinwardAssociate Member, Collector

Vicky TorrWinning entryBeaver Galleries

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EXHIB'ITION IN REVIEW

NAUGHTY BITS

Jan Blum at The Glass Artists Gallery, Glebe.Held May 16 - June 21

By Michael Bogle

Jan Blum is a local artist trained in glass at the SydneyCollege of the Arts. This exhibition of works will give hertradition-bound peers in the glass world some sleeplessnights.

She showed seven works created by the unspeakablepractices and unnatural acts of "Debrism" which Jandescribes as "smashing vessels and putting them backtogether".

Her Big Mother was the first alarming confrontation onentering the gallery. A two-metre high, cone-shapedsculpture made up of shards of fused and lamp-workedglass, standing beligerently in a steel tripod. A diminutiveblue tag fused into the encrusted surface says, "Mother".

'A liberated Jan said" 'People should have fun

with sex and people should have fun

with glass:

Her other works were more a modest scale, between 30 to50cm. Their titles reflected the shows theme: Safe Sex,Femme de la Nuit Decadent Vessel, White Death. Like BigMother they are coneshaped vessels nestled in tripodstands. Most or the vessels included blown glass whilemany of the stands were lamp-worked, an intimate processshe likens to drawing.

The Naughty Bits in this exhibition suggested a boisteroussexuality rather than intimacy. But gallery-goers who wereexpecting prurience would have been dissapointed. This isthe 1980s sex: armed and dangerous. Bella Donna, forexample, is a receptive-looking vessel but its jaggedopening is not so bella. The moral is clear. DOI\J'T.

Even her most voluptuous work, White Death, made fromc1ear,uncoloured glass, is studded with sinister, lamp­worked thorns. White Death is Jan's decadent metaphorfordying from intense pleasure.

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A liberated Jan said: "People should have fun and peopleshould have fun with glass." The seven works are certainlyevidence that she is having fun with the latter. They areexuberantly excessive. It may seem silly to counsel restraintto a" Debrist" but her most successful works seemed to bethose that were "less" rather than "more,"

Jan Blum "Femme de la Nuit" One of seven works in herNaughty Bits Exhibition May/June 1987

In my studio I have a sign on the door that says, 'At theend of the day it's the idea which is important' I readthis as I leave work thinking I wish there were morehours in the day.

A'RCHITECTURAL GLASS911ass artists in profile:

'My approach to the process involved in large scalecommissioned work'

by EDE HORTON

Mostly clients approach me after seeing my name in situ orexhibitions. I'm on the national & state library index which Iendeavour to keep updated with good quality slidesdisplaying past commissions in their architecturalenvironment slides of the work in detail and as a whole. Inthe past I have given talks to architectural firms on thecurrent trends in contemporary glass Overseas and inAustralia, often it's not until years later that I may hearfromthem.

The initial meeting with the architects is very important Fora successful collaboration one must compliment the othernot only aestically but symbolically. We discuss the roles ofthe people who will work there, the utilitarian aspects of thebuilding and why they have designed it in this manner.

My large scale work to date has been church commissions.This requires research into the theology of the religion andtranslating part of the doctrine into everyday terms for thecongregation to reflect upon.

The process of creation I find extremly arduous. Ilike to getthe feel for the people, the immediate environment and theshape of the window in its architectural context Next I mustfind a theme and develop various design approaches withinthe overall concept Usually I sit down with pencil and padand draw to get ideas. Five and a half hours design a day isabout my limit Its a disipline to stay at the desk for longperiods of time so when I lose concentration I tend to domental tasks around the home still mulling over in my mindwhat I want to portray. From there I apply collage to obtain abasic form which compliments the shape of the window orrhythm of the space. This is the skeleton upon which Ielaborate. From the collage to transparent paper to developand refine the design. The final work for presentation is withrepeater pen and ink on acetate with a colouredbackground.

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Ede Horton. (Continued from page 7)

I don't bother about colour initially I'm more concerned withshape and spaces, but before presenting my final design Ivisit my glass distributor to verify that the glass colours are instock. I've been caught out in the past and found it difficultand time consuming to redefine colours. Structuralconcerns come later with the headaches.

Once a committee has approved the final design, selectionof glass and a mutual agreement is reached on a contract ofsale, I'm ready to make the large-scale cantoons. Thesedays I am collaborating with David Turner and JamesThompson of 'lucan Glass' on the fabrication of my work.Most of my love and attention is required by my young son,Max. and this arrangement suits us all. The window space ismeasured by the studio and I am presented with the tracingpapers to draw up the cartoon. All colour, lead and zinccames are defined, plus any other information. I supervisethe cutting of the glass stressing how I wish the colours toblend (from light to dark etc.) and they are placed on clearglass panels with blue tack to get an overall impression. Atthis stage we make alterations. The work is reviewed afterleading up and I help with the lead applicque. Again it isstudied for any changes before it goes to the site. I feel it isimportant the work is installed in the building prior to theclient moving in so it is considered an integral part of thebuilding.

During all these procedures one must draw on all the skillsof communication, persuasion and public relations. Tounderstand architectural plans and conduct presentationson their level. I have to learn costing and managementskills, deplomacy and protocol, local authority procedures,union regulations and engineering requirements.

I recommend reading 'Art within Reach' edited by PeterTownsend, published by 'Art Monthly' in collaboration withthe Arts Council of Great Britain and the Craft Council byThames and Hudson 1984. Informative book worthreading. Available from Craft Council Library.

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GLASS SCULPTURENeil Roberts

Neil Roberts'encounter with the 'notorious' N. C. D. C.(National Capital Development Commission), were bothfrustrating and frequent making the Peloponnesian warsseem a minor skirmish.

Flashback· December 1985. when "our mild man about­town", submitted, and won a commission for a sculpture tobe constructed in the courtyard of Gorman House, A C. T.Gorman House was built in 1926 as a youth hostel. It nowhouses activities incorporating various communitygroups, artists, theatre groups, etc., all of which aresupported by govemment funding.

After submissions of proposed sculpture and materials.method of construction etc., Neil was shortlisted andeventually selected to create the sculpture. He then began atwelve month vigil of thinking. re-thinking and resubmitting

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until all agreed to the criteria and objectives of the piece (nomean feat). With a great sigh of relief, it finally went intoplace during August 1987

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GLASS SCU LPTU RENeil Roberts

Continued from page 9

Much of the physical layout and working on theconstruction was carried out at the Canberra Schoolof Art, where Neil was working as artist in residentfor eight weeks.

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Although students were not involved in the project, theywere certainly drawn to the presence and activity that Neil'sprofessional attitude generated in the workshop. It was anexchange of mutual respect for all, in the sharing ofinformation time and suport

As for the final design, well, of course it's broken glass andneon (but only hints of Neils previous passions), coupledwith copper and a steel grid to form a gladiator's armletfixed to the wall. Pointless glass jutting from a central(copper ring). rivet those driving by (the accident rate is up inACT.?). Not a piece "highlighted with neon to be effective"but strong visual sense of glass - lit, raw and jaggedlybeautiful. A statement to the energies and commitment ofthe artist

By Hero Nelson(Canberra)

ARCHITECTURAL GLASSThese views present some of the problems and interpretations of Architectural Glass.There will be other questions and answered shared in our magazine over coming issues of 'Ausglass' 87/88.

Also see article from Ede Horton (page 7)

I Discussions on Architectural Glassl

An extract from the lecture"Stained Glass in the eighties"given during the conference'Glass in the Enviromment'held in London, April 10 1986

JOCHEM POENSGEN

The correlation of stained glassand architecture is often describedas a dialogue. If this is so, thenhere, too, it is true that a dialoguewith a partner who does not let youhave your say is as frustrating as adialogue with a partner who hasn'got anything to say.

Forthe stained glass artistthere arethree partners to the dialogue: thebuilding, the architect and theclient In certain instances, we mayhave to do with only two of thepossible partners, in the otherswith all three of them; comitteesand authorities may alsojoin in.

For me, however, the mostimportant partner, demanding allmy loyalty, is the building. This maysometimes even go to the extentthat I feel I must protect it againstmy other partners. Although thissounds rather arrogant I would liketo put it exactly that way since Iconsider it highly important thatmy notion of what is appropriate inrelation to a particular building benot mistaken for a simpleconforming with, or evensubmitting to unacceptable ideasof clients and architects.

A discourse on the technical constraints upon the designof architectural stained glass,a personal view... MARC GRUNSEIT, MARCH, 1987

One of the many topics discussed at the 2nd InternationalStained Glass Seminar, held in Kevelaer, West Germany,concerned the technical constraints of the medium upondesign. Initially, the issues arose during a sessionconcerning construction and installation techniques whichwas held in the light of the viewing tower in the DerixStudio. Displayed on the light wall was a panel by JochemPoensgen and leaning on the wall temporarily defying thelaws of physics, was a panel by Johannes Schreiter.

They graphically represented two different approachesto design and the two became the focus for analysisof the topic "How far, ifat all, should the medium constraintthe design?'

Schreiter provocatively expressed his attitude both in hiswork and in print that he refused to be in any wayconstrained by the medium. He doesn't even want toconsider its technical limitations. Regularly he makestechnical demands upon the studio which extend thelimits of what was considered possible; but not witl,outcost Some things are still not possible; as is tacity admittedby his increasing resort to plexiglass and glue. Poensgen,on the other hand, considers the given parameters asinherent aspects of the design process and works withthem, not infrequently generating his design from them.

Philosophically one can argue the pros and cons adinfinitum; but eventually, the ;Janels must be constructedand in that process rests the crux of the issue: What asstained glass designers, are we doing?

Are we designers in glass. or are we primarily designingco-incidentally, for the medium of glass?My view favours the former.

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We chose to work with glass in an architectural settingso fulfilling one aspect of architectural art. There are manyothers: tapestry, mosaic, sculpture, architecture itself, toname a few. Each involves particular materials, the physicalproperties of which require respect and consideration.So why choose glass? I can only give a personal answer. Forits interaction with light and ability to relate internal andexternal environment to the illusion of no barrierwhatsoever. Combine this capacity with a superb mediumof artistic expression and the ability to keep the rainout and we have a unique material, allowing us to paintweave and scult - to transmute light itself.

Glass is a versitile material and as architectural alchemists,we can make it look like many other materials. Unlessit retains its "glassiness" however, I find such tech­niques irrelevant What is the point of using glass if onemust be told that it is in fact glass not wood or marble forexample? Often, it seems, this is more technical virtuousityfor its own sake, irrelevant and shallow.

My experience of being in the Derix Studio, which has theexpertise and facilities to overcome most technicalproblems was inspiring and gave me the confidence toattempt many of those techiques, which are, once one isfamiliar with them, only "cheap tricks" after all. There is nodoubt that one's designs become freed if one knows how torealise them, but with all this knowlege I am the moresobered for experiencing first hand some of the celebratedinstallations in Germany. They did not all succeed,aesthetically or architecturally and this was a surprise. Iwent to Europe expecting to be overwhelmed by the qualityand expertise and found that as in antipodes, stained glassis designed and executed by mere mortals.

In conclusion, a quotation from the master Netsuke carver,Kodo, whose remarks about his art are as cogent for stainedglass: "The newer and freer the design the better it is,so far as the design per se is concerned (bu~ thetraditionally imposed restraint is very important; it is thesine qua non. ... " Restraint should rest in the design, notsuperimposed by the architecture, but emphatic with it.

Marc Grunseit 'Wave Window' Paul Commission 1987, Etched Plashed, Leaded Glass.

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PILCHUCK '87by Velta Vilmanis

In June/July of this year I attended the PilchuckInternational Summer School in Washington state as one ofthe recipients of a Crafts Board of the Australia Councilgrant to students studying glass. I am in my third year of aDegree in Visual Arts majoring in Glass at the CanberraSchool of Art

Pilchuck has 5 sessions offering between 3 to 5 workshopsper session. These are quite diverse. This year the coursesinclude hot glass. pate-de-verre. surface decoration.engraving neon. lampworking. furnace and kiln casting.printmaking. fusing. and stained glass. Instructors comefrom all over the world as do the students although thepolicy is to keep the School predominantly American with amaximum of 25% intake from overseas.

Students are accepted without qualification so that there isa wide variety of skill levels ranging from practising artists topeople who have worked in glass. This diversity canencourage a fresh approach to work.

The atmosphere is very much like a summer camp.Everyone lives on campus. in dorms and cottages spreadaround the 40 acres. Dining is a communal affair and thereare daily slide shows by the instructors and artists inresidence. Visitors are discouraged. television and radionews is unimportant (the bliss of missing the Australianelections!). and the isolation is complete by being 20 milesfrom the nearest town. All in all the experience is veryconcentrating.

I attend the pate-de-verre course taught by Diana Hobsonfrom England. I'll give the basic technique and if anyonewould like more detailed information please contact me.

Diana makes extremely thin walled (4mm) vessels by thetraditional 'glass paste' method. The glass is ground to afine powder. mixed with water and then layered into amould. It is then fired to a temperature high enough to fusethe glass crystals without allowing the glass to slump anddistort The mould is then broken away. Diana has createdher own distinctive style by incorporating into her designsobjects normally alien to the fused glass. Small pebbles.metal scraps. dirt crushed stones. pieces of sandpaper aswell as crushed glass and oxides, form patterns of textureand colour within her pieces.

Diana Hobson, Pate de Verre

The first step in the process is to make a clay model. Fromthis the refractory mould can be made. but the originalmodel is destroyed as it must be dug out of the mould. Topreserve the model a plaster mould is made and from that asilicone rubber master model is made is produced fromwhich many refractory moulds can be made. The mouldshould follow the contours of the model as closely aspossible. The refractory mould mix used in Pilchuck isunavailable in Australia and England. Called 'Satin Cast 20'it is manufactured by Kerr Manufacturing Co.. P.O. Box455.Romulus. MI48174, U.S.ASatin Cast 20 : water: fibreglass strands

40 oz : 16 oz : handfulIn England Diana uses:25% plaster30% chrystobalite (a fine quartz)45% quartz (300 sieve)

1% fibreglass strands

More technical information to come in next newsletter.

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EXHIBITION NEWS

FIRST GROUP EXHIBITION OF AUSTRALIAN GLASS ENGRAVINGThis will be the first ever Australian exhibition devoted entirely to engraved glass and will feature many newand exciting methods of presentationAnne Dybka, well known Sydney engraver and motivating force behind this show, has collaborated with PaulDawson, a hologram expert, to create a series of holograms incorporating Anne's engraving.Also on display there will be engraved glass lit only by fibre-optics which creates quite a magical effect. Otherwork will feature optical illusions. There will be work by a calligraphy expert and pieces incorporatingdiamonds and other precious stones. Copper wheel engraving will also be represented.The Exhibition Hall at The Opera House is particularly suited to special lighting effects and we feel sure this,combined with the beautifully engraved glass, will focus a new awareness on this ancient and fascinating art.

OCTOBER 1987Venue: Devise Gallery.263 Park Street,South Melbourne. 3205Ph: (03) 690 6991They will be presenting a soloexhibition of recent worksby Internationally acclaimedGerman glass artist Isgard Moje­WohlgemuthThis exhibition to be held duringOctober.

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SEPTEMBER 1987Prism Galleries W. A staged an(expo) exposition of the story ofglass through September.Prism Galleries21-23 Pakenham St,Fremantle. W. APh: (09) 335 8483

Isgard Moje­WohlgemuthGlass

LffiERS TO THE EDITOR

Dear Jan,I think the magazine is GREAT!Congrats to you and the rest Ajuicy letter column will be a goodaddition. More reviews, perhaps;but well I've no critisisms!For my part I think the idea ofoffering it for sale is worthpersueing. I suspect cost may be afactor, but it would be worthsubsidizing a great exposure.Anyway I just wanted to writeimmediately to say what a good jobI think you have done, and all theefforts to increase the base ofAusglass have my fullest support

Well doneDavid, 143 Church St,Brighton, 31 86Victoria

Dear Jan'Hello to the new friends we met atthe Ausglass Conference andWorkshops in Melbourne. Wethank you for your hospitality andhelp during our stay.We have now made our move toour new location at 37 Raff Streetwhere we have a small gallery aswell as our studio. Business is briskand we are putting to good use thenew skills and techniques wegained in the Workshops(Design and Warm Glass),thanks to Susan and Warren.If any Ausglass members mighthappen to visit Toowoomba,Queensland,please call and makeyourselves known to us.

Sincerely,Joan and AndrewMladenovic.Classic Stained GlassPh: (076) 38 2597

Dear Jan,I am writing on behalf of my partnerMandy Carttell. We are looking forone or two persons to work inpartnership in our glass studio asglass burners in artistic andcreative direction rather thandomestic ware.We built up our own equipmentand have been operating for a year.I am going overseas for anindefinate period and want to sellmy share for $8,000. My partnerwants to carry on, but unfortunatelythere is no one available at presentso I am writing toAustralia,hoping their may beinterested people there.We've been making a variety ofpieces of sculptures, bowls,perfume bottles, plates,paperweights all individual.So if anyone is keen, please let usknow soon.I am going overseas in 2-3 months.

Yours Sincerely,Glen Anne BrayshawHot City Glass85 Jervois Road,Ponsonby, Auckland, N.ZPh: 766 486

OCTOBER 19878th - 25thWarren Langley will be exhibiting arecent series of his glass sculpturesat the Craft Council Gallery A C. T.The series continues hisdevelopments in the fused castprocess use in the Druid site seriesof 1986-87Venue: Crafts Council of A C. T.Gallery1 Aspinal StreetWatson. A C. T. 2602Ph: 062 41373October 8-25 1987Wednesday to Sunday 10am ­4pm

Dear Jan,With reference to your Ausglasswrite up on publishing info, couldyou please put in the following forpubl ication.I am looking for shared studiospace, either in the city area orcountry, preferably town gas anadvantage and three phase powernot essential, interested in hotglass facilities, but prepared tobuild furnace. I am able to offer arange of equipment i.e. Clemcolarge sand blast cabinet andcompressor and extensive range ofgrinding and polishing plant and 2kilns etc. Would be interested inanyone who also is trying to get aglass studio together. Willconsider any propl;>sition and amprepared to travel.Please write or phone to:Don Wreford,228 Alexandra Parade,Fitzroy 3065Melbourne VictoriaPh: (03) 419 3148

NOVEMBER 198714th - 23rd"Australian Glass DesignersExhibition'Venue: Malvern Town HallCm. Glenferrie Rd., & High St,Malvern, Victoria.

"Anyone staging exhibitions whowant to let others know . ..Write to us and we will include it inthe Exhibition news. ... "

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CONFERENCE PAPER IN REVIEW

Rodney Bender is an Australian born in Brisbane who worked in stained glass in Adelaide during the late70's. He left Australia to study architectural stained glass at the Swansea School ofArt; he later lectured atthe college and has just recently received his Master's Degree. During this time he has also studiedarchitecture, art, and has travelled extensively throughout Europe. Rodney assisted Jochem Poensga at the"Architectural Stained Glass Seminar" in Kevelear, West Germany in 1986 and is currently engaged in PhD.,studies on art and architecture in England.

Section of the window byRodney Bender, ChapelWindow, St Mary's Swansea.

The following is a brief summary of Rodney Bender'spaper given at the Ausglass conference in January,1987. The paper was titled "Two ContemporaryApproaches to Glass in Architecture: JohnPiper/Johannes Schreiter." The paper itself is anextract from Rodney's Masters thesis.

The paper attempts to explore the differing responses ofPiper and Schreiter to the challenges of designingstained glass for architecture.

Rod is not looking for their 'formula' for success, butrather hopes that his article will shed light on theproblems faced by every artist who makes Public Art

To the question "What do we look for when making anappraisal of stained glass?" it is pointed out that stainedglass has a symbolic relationship with architecture. This

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relationship with architecture, he suggests, makes itimpossible to make this appraisal of stained glasswithout considering its setting, and still more difficult todetermine what is appropriate for a particular situation(see other articles on this topic in this issue and the last).

Rod then goes on to look at 3 examples of John Piper'swork. pointing out that it is the two factors, 'thecombination of a romantic vision and a highly personal,some might even say insular, view of architecture, thatinfluences Piper's designs for stained glass..:In the large window for St Andrew's Wolverhampton,made in 1968, 'the tonal use of colour to produce spacialeffect reflects something of Piper's particular concerns asa painter. When this is applied on such a grand scale theeffect is not only dramatic, it modifies ones physicalperception of the space'

Johannes Schreiter. . . 1960Southern Leaded windows of St. Margareta Church, in Burgstradt, W Germanv·Height 11 mt; Width 21 mt.

Schreiter at work inW Derix Studio,Rottweill

STATE EDITORS:TASMANIA - Kathy SinkoraiJamesDobsonc/- The Cottage, Clarendon,Evandale 7212 (003) 986209NSW - Deb Cocks31 Emerald Street, Narrabeen 2101ACT - Hero Nelson/Patrick de Sumoc/- The Glass Workshop, CanberraSchool of Art GPO Box 1561,Canberra, ACT 2601VICTORIA - Julie Brand76 King William Street, Fitzroy 3065

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It is stressed that both the physical aspects of thearchitecture and the abstract function of the buildingswere taken into account not in some formulated way, butin sensitive response to each individual situation.

Then Rod moves on to look at Schreiter's first work ofnote, the massive (120 sq metre) triangular window at StMargareta's, Burgstradt

"Rather than echoing the stable shape ofthe triangle, thedesign juxtaposes a succession of elements that seementirely unrelated to the physical elements of thebuilding. Like some fantastic micro or macroscopicconfluence lying beyond the window plane. Were it notfor the subdued earth colours it could easily have beenoppressive but it seems to me that he skillfully avoids thisand produced a design that is expansive andinvigorating.

Indeed he suggests that the design responds to 'theaspects of the architectural function that cannot be seenand these are in turn influenced by his concerns as apainter.. .'.

"Furthermore it would be wrong to conclude thatSchreiter's stained glass does not integrate with itsarchitecture; just consider his Meditation Chapel atLeutesdorf or his windows in Limburg Cathedral, to nametwo of many. His approach is merely one of' complemen­tary integration' where-by the imagery of his stainedglass interacts with a space much in the same was asdoes a picture on the wall. In this sense they have manyof the formal concerns of a picture and yet they arespecific to one architectural space and conceived of interms of transmitted light and glass. They are notwindows in the usual sense but glass pictures or picturewindows where the view has been transformed into ametaphorical landscape.. .'.

The full lecture is available on the conference, cassettetapes from the craft council office in your state.

Complied by Berin Behn

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GENERAL INFORMATION1988 selection for the NationalSelected Slide Library

Submissions are invited fromCraftspeople who would beinterested in professionally pro­moting there work.The National Selected Slide Libraryhas been operating successfullysince 1980 to promote Australiancrafts and craftspeople on aNational level.The National Selected Slide Libraryis in constant use by the media,architects, interior designers, craftshops and galleries, for individualand corporate commissions. It isalso the basis for selection formajor exhibitions in Australia andoverseas.CAN YOU AFFOR D NOT TO BECONSIDERED FOR INCLUSIONON THE NATIONAL SELECTEDSLIDE L1BRAY.?If you are a full-time or semi­professional Craftsperson andwould like your work to bepromoted by the Crafts Council ofAustralia's Information Service, wewould like to hear from you.

CLOSING DATE FORSUBMISSIONS IS THE 31 stDECEMBER.

Information Brochures on theNational Selected Slide Library andentry forms are available from yourGroup's Secretary or the CraftsCouncil of Australia,100 George Street Sydney,2000. Tel. (02) 241 1701

Advertised in the British Craftsmagazine recently, was a book forstained glass people called'GLASS TODA Y edited by MichaelWigginton. It is a report on theproceedings of the Glass in theEnvironment Conference, held inLondon on April 1986. The reportis available from: Crafts Council, 12Waterloo PI. London. 8W 1Y 4AU.At £7.95 per copy. There wouldalso be postal costs to consider.(For enquiries I suggest you writeto them first).

SYDN EY WOR KSHOP Aug 22As you have read in the lastnewsletter Jan Blum and DebCocks received a WorkshopDevelopment Grant from the CraftsBoard of the Australian Council. Itis not as stated, for a hot shop.They will be providing machinery

such as kilns sandblaster, linishall,etc. for access 3 days per week

There will be a space and tablesavailable for short term use, as wellas the machinery for about Y2hourly rental.At this point in time they arewaiting for council approval on abuilding in Leichhardt It is awonderful space which they will besharing with glassworker BrigitHancock and several others whowork in different mediums. There isheaps of enthusiasm and supportfrom other glassworkers here inSydney and everything seems tobe slotting into place quitemagically. So hopefully very soonthe workshop will be opertationaland we will be able to provide acontact number for enquiries.

COLD GLASS SPECIALISTWORKSHOPS MEAT MARKETCRAFT CENTRE MElBOURNE

12th October 1987'Glass painting and staining'from 12th to 16th. (1 Oam - 4pmMon. - Fri.) $110 per person($20 deposit secures a place).Tutor. GERRY CUMMINS(15 vacancies)

2nd November 1987'Screen printing and surfacetreatment of glass' from 2nd to6th (10am - 4pm Mon. - Fri.)$110 per person ($20 deposit).Tutor. JOHN GREIGContact John at workshop(03) 329 9966(10 vacancies)

n.g.brown

and associates

•MonufOclurers of gas burners and controls lor

furnaces, onneolers, slumpers,lIome polishing etc.

Temperature control equipmenl.

Oxygen atmosphere onolysers.

Balances and weights for weighing chemicals.

Hand held and bench mounted torches.

Suppliers to most of the hot gloss workers.

New generation recuperating hot glossburners available to

reduce gas consumption.

•For lull details contact:

N.G. Brown & Assoc. Pty. Ltd.7 Albert Street, Richmond 3121.

(03) 428 7766 (03) 428 1588

Ask for Mark Brabham.

n.g.brown

and associates

•

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Workshop Information (continued)

16th November 1987'Introductory glass fusing andslumping' from 16th to 20th(10am - 4pm Mon. -Fri.) $110per person ($20 deposit)Tutor. JAMES THOMPSON(10 vacancies)

7th December 1987'Design for glass' Monday 7th(10am -4pm) $36 per person($10 deposit)Tutor. TONY HANNING(15 vacancies)

8th December 198,7'Fine sandblasting and appliedcolour' from 8th to 11 th (Tues. ­Fri. 1Oam -4pm) $95 per person($20 deposit)

Tutor. TONY HANNING(8 vacancies)

for further enquiries pleasecontactJOHN GREIGCOLD GLASS WORKSHOPSUPERVISORMEAT MARKET CRAFT CENTRE42 Courtney Street.North Melbourne 3051Tel. (03) 329 9966

EXHIBITIONIN REVIEW

GUNWINGUU STORIES

Lee Ga\twood at The Bindi Arts and CraftsAugust 13 - 29 1987

Reviewed by Marilynne Bell

Lee Gaywood is now in her final year of study at Sydney College ofArt in the glass department Her primary attraction is to kiln-firedglass techniques. She kiln slumps forms which maintain a referenceto the vessel yet are open ended. She then resolves these openingswith fused cane work or bindings of tied and knotted fibres, settingup a visual tension between fragility of glass and taut lines ofthe string weaving.

Lee was recently invited to exhibit in a group show of AboriginalArt works at the Bindi Arts and Crafts. Her textural treatment of theglass with both high and low firing enamels in salmon and pinksand earth-toned yellow highlighted by splashes of complementarycolour worked successfully in this setting. Collectively they wereoffering bowls for the purpose of ritual and as such were in harmonywith their sister carved wooden bowls.

ACE CHEMICAL CO.Full ranQe of chemicals available for glass making & colour

• Quotations given on request..

Contact:

ACE CHEMICAL CO.

20

10 Wodonga Street

Beverly, S.A 5009.

Ph.(08) 268 5055

-

1Ht M7~ wlffl

~~"1~Ctrr /t #1/ tJ9#(

~ Ir ~fr1tt '" rr (J(, ~~:rI I ,

1, Z, k,t:. ~frS

Johannes Schreiter . .. 1960Exterior view of Southern window at Sf. Margareta Church

1/tfla/ l::.~~V~W~

P~3630766

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l \~eGe ~ • BEGINNERS AND ADVANCED CLASSES000'- HELD REGULARLY

Q..O • RETAIL AND WHOLESALE ACCOUNTS AND COUNTRY ENQUIRIES WELCOME

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COMPETITIONS

October 1987National Arts and Crafts Exhibitionconducted by Royal AgriculturalSociety of Victoria. Variouscategories. Professional categoryby invitation. Further info from TimMorgan, Public RelationsManager, or Jan Gray, Arts andCrafts Officer on (03) 376 3733.

9th October 1987Australian' Crafts 1988 Exhibition.Australian craftspeople producingmajor exhibition pieces of highstandard are invited to submit 3-5slides of work produced within thelast 12 months, for considerationby jury for invitation to exhibit in1988 Easter Exhibition at MeatMarket Craft Centre. If slides are tobe returned to you at conclusion ofjury process please advise.Slides and enquiries to:Exhibitions Director,Meat Market CraftCentre, 42 Courtney St,Nth. Melbourne, 3051.Ph: (03) 329 9966

1st December 1987The International Exhibition ofGlass Craft '88.NEW GLASS REVIEW#9CORNING MUSEUMInvitation for glass artists to send 3slides (35mm) with applicationforms (+$5.00 U.S.). Only 1987works eligible. All entries must bepostmarked no later than 1stDecember 1987. Permitted entriesvessels, objects, environments,glass pictures, glass windows,architectural related glass andglass related designs.For entry forms and furtherinformation write to:New Glass Review,The Corning Museum of Glass andGlass Design,Corning New York..14839-2253, U.S.A

December 1987The International Exhibiton of

Glass Craft '88 ... JapanConducted by representatives ofthe Prefectural and MunicipalGovernment Kanazawa Chamberof Commerce and Industry andothers. Only craftwork will beaccepted.Apply for entry by submittingslide(s) of each piece with thecompleted application form.Deadline for receipt31: December 1987(Airmail to Japan takes one to twoweeks) Selection: January 1988Transport of work: Works toIshikawa Design Centre must bepaid by artist. , . retum paid byorganisers.For application and enquiries writeto: Executive CommitteeInternational Exhibition ofGlass Caft '88c/o Kanazawa Chamberof Commerceand Industry,9-13 Oyamacho,Kanazawa City,Iswikana Pref. 920JapanPh: 0762 631151(Country code :51 Japa~

This competition carries prizes of:500,000 ¥ (one artist) 1st Prize200,000 ¥ (two artists) 2nd prize100,000 ~(three artists) 3rd PrizeGrand prize winner will receive anall expenses paid trip toKanazawa for the duration ofexhibition.

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