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Five Images submitted

Landscape of My Friend Departed
One aspect of my project is material landscape. In this cast piece the eye is
drawn into the play of light against the internal dynamics formed by the flow of
the glass in the casting process. I use my knowledge and skill to control this
flow within strong formal shapes but the material takes the work beyond what
I know to suggest landscapes that touch memory in a visual yet visceral

Icarus Reaching
This cast piece was part of a series that belonged to an earlier project. Here
a casting process imbeds negative forms behind the glass that are read as
positives by the eye. It utilized our affective response to light and colour
through various thicknesses of the cast glass to trigger emotive responses to
the narrative context contained within the strongly suggestive form.

Madame Ginoux Remembers the Beach
All my work plays with how work is read and shifts of context. In this reverse
painted piece (glass enamel) a recognisable cultural icon of early modern
painting is transferred to an Australian beach and a new narrative is implied in
the title. The other narrative is that of the artist seeded in an idiosyncratic
gesture evident in the strong graphic nature of the work’s drawing.

Narrative is pursued through the reading of the other in the strongest of all
personal narrative forms in painting, the portrait. The symbols of the life lived
(invented or otherwise) and the gestures of stance and facial expression are
read as history in the appearance of another human through skills learnt from
the cradle.

Two Geckos
Flame-work allows a directness and spontaneity of touch that is not available
in the other two techniques I utilize in my glass making. The freshness of that
combines with the clarity of the borosilicate to give life to the work. This work
demands a manual dexterity beyond casting and painting and this transfers a
lot of my thinking to my fingers in a more instinctive response to the forces
acting on the material.