When glassmaker Isobel Waters works in the hot shop, using a blowpipe to form and shape molten glass bubbles, she often spends an entire four-hour shift on a single piece.
The furnace temperature can reach up to 650°C, and manipulating the glass is intensely physical work.
“It’s a great practice of mindfulness,” the South Australian-based artist says.
“You’re hot, and you’re grappling wiht this very challenging material, but it’s really satisfying.”
ACT glassmaker Madeline Cardone works in a kiln rather than a hot shop but says that approach is also intense in its own way.
[Image of Madeline Cardone working with a kiln. (Image: Brooke McEachern)]
“It’s a slow and meditative process where you’re working on your own in the kiln,” she says.
“You’re planning your compositions, putting the glass in, taping it on and walking away for a day. It’s more drawn-out, but more introspective.”
A unique material
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Waters and Cardone are two of the artists showcased at Glass Chrysalis II at Wagga wagga art gallery, a triennial exhibition featuring six of Australia’s best young glassmakers.
While they both became engrossed in the world of glass while studying, Victorian Hamish Donaldson is a third-generation glassmaker and grew up with a hot shop at home.
## Beyond Transparency: Australian glass Artists Push the Boundaries of the Medium
Glassmaking is frequently enough associated with delicate vases and sparkling chandeliers, but a new generation of Australian artists is shattering expectations and transforming the medium into something altogether more challenging and thought-provoking.
From immersive installations to sculptures that explore social issues, these artists are pushing the boundaries of what glass can be, both conceptually and technically. They’re achieving this through a diverse range of techniques, moving far beyond traditional blowing methods.
One such artist is Kirstie Rea, who brings a sense of “magic and surreal nature” to his glassmaking through the use of deep color, engraving and geometric patterns.
## ‘This doesn’t look like glass’
While blowing glass is probably the best-known and most spectacular technique, glassmakers can use all kinds of methods to manipulate their material into weird and wonderful forms.Waters employs an ancient technique called pâte de verre, which involves packing glass powder into a mould and firing it in a kiln, to create thought-provoking visual illusions in her work.
One piece in her exhibition series, The Mental Load, recreates a clothes horse, inviting us to reflect on unpaid domestic labor.
> “The illusion can draw people in to look at the work and its message that maybe the way that part of our society is structured is a little bit unhinged.”
Cardone, meanwhile, mostly uses black glass rather than colour.
While she says black glass can be tricky to work with,she has found the material ideal fo
Glass Artist Sarah Waters on Mastery,Emergence,and the Allure of a Challenging Medium
Glass artist Sarah Waters finds joy in the unpredictable nature of her craft,embracing the variations that arise even with consistent technique. Currently exhibiting at the Wagga Wagga Art Gallery, Waters speaks to the challenges and rewards of glassmaking, her connection to a burgeoning community of artists, and the elusive pursuit of mastery in a demanding art form.
The Allure of Glass and the Pursuit of Mastery
Waters describes a fulfilling tension in her work: the application of consistent techniques yielding unique results. This element of surprise is a key part of her artistic process. She finds herself energized by the technical complexity and physical demands inherent in glassmaking, driving her to continually refine her skills.
“I use the same techniques but frequently enough get different results, which is something that I really enjoy,” Waters says.
She also expresses excitement about being part of a growing movement within the glass art world. “She has enjoyed feeling ‘part of a new emergence of glass artists’ and says every artist in the exhibition offers something new and different.” This sense of community and shared exploration is vital to her creative process.
Waters views her work as contributing to a broader “contemporary conversation on glass,” and feels a strong sense of accomplishment. Though, this achievement doesn’t signal an endpoint, but rather a catalyst for further exploration.
Despite her progress, Waters acknowledges the impossibility of complete mastery. “But that’s probably never going to happen,” she laughs. “I don’t think anyone has fully mastered it yet.” This humility underscores the inherent challenges of working with glass, a material that remains both captivating and unpredictable.
“glass Chrysalis II” Exhibition Details
The exhibition,Glass Chrysalis II,is currently on display at the Wagga wagga Art Gallery until January 31st. https://www.waggaartgallery.com.au/
Key Takeaways
* Embrace imperfection: Waters highlights the beauty of variation within a controlled artistic process.
* Community is Key: She values being part of a vibrant and emerging community of glass artists.
* Continuous Learning: The pursuit of mastery is ongoing,and the challenges of the medium are a driving force.
* Glassmaking is Physically and Technically Demanding: The art form requires both strength and precision.
This exhibition offers a compelling look into the work of a dedicated artist and the dynamic world of contemporary glass art. As Waters continues to push the boundaries of her craft, she embodies the spirit of innovation and the enduring allure of a challenging medium.
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