The Ian Potter Museum of Art
Liquid Form: Ancient and contemporary glass
This exhibition celebrates the luminous medium of glass. Displaying significant artefacts from the Egyptian and Roman periods alongside the work of contemporary makers, Liquid Form examines the development of faience and glass manufacture in the ancient world and demonstrates how these methods have been reinvigorated and extended in the modern era.
Originally thought of as a substitute for stone by the ancient Egyptians and Mesopotamians and traded throughout the ancient world, by Roman times the use of glass was becoming increasingly more common. Today, the medium has a ubiquitous and largely utilitarian presence in everyday life, but is still valued by makers and collectors as a challenging medium through which to push craft techniques and the boundaries of design.
Some of the glass making methods developed in the ancient world include core and rod forming (vessels and small items with organic cores around which glass was wound or formed), casting and moulding (items produced through the use of moulds, both open face and closed), cane or mosaic glass (coloured circular glass rods cut into small pieces and then fused to form vessels and objects), sagging (reheated glass blanks sagging over or into moulds or forms), cold working (shaping and decorating after casting) and mould and free blowing. Many of these techniques continue to be used by artists today, and are represented in the exhibition in work by some of Australia’s most influential makers.
Highlighting the treasures in the University of Melbourne’s Classics & Archaeology Collection, Liquid Form will be the first major exhibition of glass at the Ian Potter Museum of Art. The exhibition also showcases significant works from major collections around Australia, including the Australian Institute of Archaeology, Melbourne; the Dodgson Collection of Egyptian Antiquities at Queens College, the University of Melbourne; the John Elliot Classics Museum, the University of Tasmania; the RD Milns Antiquities Museum, the University of Queensland and the National Gallery of Victoria, Melbourne.
Artists include: Gabriella Bisetto, Lisa Cahill, Mel Douglas, Judi Elliot, Ursula Halpin, Jennifer Martinello, Nick Mount, Kirstie Rea, Brendan Scott French, Yusuke Takemura, Blanche Tilden, Bethany Wheeler and Richard Whiteley.
Fuse Glass Prize
JamFactory, Adelaide: 18 May – 8 July 2018
JamFactory at Seppeltsfield, Barossa Valley: 17 July – 16 September 2018
Winners – Jessica Loughlin and Ursula Halpin
“JamFactory is thrilled to announce that the winner of the 2018 FUSE Glass Prize is internationally renowned Adelaide-based glass artist Jessica Loughlin.
This biennial non-acquisitive prize for Australian and New Zealand glass artists is Australasia’s richest prize for glass. It provides a platform for artists to push themselves and their work to new limits and focuses public attention on the importance of glass as a medium for contemporary artistic expression.
The works of twelve established and six emerging artists were selected as finalists by the 2018 judging panel. 2018 Judges are Clare Belfrage (Glass Artist and 2016 FUSE Glass Prize Winner), Kim Paton (Director, Objectspace, New Zealand) Lisa Slade (Assistant Director, Artistic Programs at the Art Gallery of South Australia) and Brian Parkes (JamFactory Chief Executive Officer).
At a special event in Adelaide on 17 May the non-acquisitive $20,000 cash prize was awarded to Jessica Loughlin. Loughlin has exhibited widely in the US, UK, Germany, Italy and Australia and her work is held in public collections around the world including National Gallery of Australia, Canberra, Queensland Art Gallery, Brisbane, Corning Museum of Glass, NY, USA and Victoria & Albert Museum, London, UK. The judges noted that the work was confident and completely resolved with every edge and surface considered. The sophisticated and poetic way in which the work captures and alters the colour of light – echoing natural atmospheric phenomena – is the result of Loughlin¹s deep understanding of glass as a sculptural material.
An additional prize of $2,500 cash and a professional development residency at JamFactory was awarded to Ursula Halpin (the emerging artist category winner). The judges were impressed with the formal and conceptual ambition of this work. The references to domestic crafts, the fragility of the individual components and the play of light and shadow created by the installation stimulated great discussion during the judging process.
The biennial FUSE Glass Prize prize for Australian and New Zealand glass artists is proudly presented by JamFactory and supported by generous donors; Jim and Helen Carreker, Diana Laidlaw AM, Ian Wall OAM and Pamela Wall OAM and Sue and Alan Young AM.”
FUSE Website http://www.fuseglassprize.com/news/
Finalist – Ursula Halpin
Náire Orthu, 2017|
Kilnformed pate-de-verre bullseye glass, nylon and steel,3500h x 1500w x 1500d
Ursula Halpin (b. 1972 in Dublin, Ireland) is an emerging artist based in Adelaide, Australia. Halpin’s work spans glass, textiles, sculpture and curatorial practice. Graduating in 2016 with in Bachelor of Visual Arts Honours (First Class), Halpin was awarded the Chancellors letter of Commendation for the top 5% of Graduates in the Division of Arts, Education and Social Sciences at the University of South Australia. In 2017 Halpin was awarded the Graduate in Residence by Canberra Glassworks and undertook a Helpmann Academy supported mentorship with artist Kirstie Rea (ACT) during that time.Since graduating Halpin has exhibited in Sister Gallery (SA), Canberra Glassworks (ACT), National Glass Gallery Wagga Wagga (NSW), The Ian Potter Museum (VIC), and the inaugural Ireland Glass Biennale (IRE). Halpin is shortlisted for the 2018 National Emerging Glass Prize Wagga Wagga (NSW) and has been awarded a half scholarship to attend Pilchuck in 2018.
Náire Orthu meaning ‘shame on you all’ in Gaelic, commemorates the othering of women in Ireland. Throughout her youth in Ireland, Halpin recalls knitting, sewing and crocheting with her Mother and sisters, in moments of solace where unspoken and unconscious healing occurred. Re-connecting with traditional Irish crafting such as Kenmare lace and objects made by her mother, Halpin draws the political and personal together in intimately woven sinewy threads. She links her works with Julia Kristeva’s process of ‘abjection’ as matter, which is from the body but repelled and rejected from the self. Drawing on the notion of the abject, repetitive crafting and making becomes an active process of positively dispelling generational and lived trauma out of the body and into the object. This is an empowering process, sharing of memories that are held close and carried, while also an intimate recognition of memories which one attempts to estrange.
Rising Talents in Glass
June 23 – September 8 2018
Bullseye Projects, Portland, Oregon
Emerge 2018 is the tenth in a biennial series of exhibitions hosted by Bullseye Projects in Portland, Oregon.
Nick Doran Adams, “Easter (Poké) Egg 1/3”
Evelyn Gottschall Baker, “Bones – Group”
Kalina Bańka, “Noise”
Emily B Juel, “NS75707/CONTAINER OF PROSPECT/NOJOB”
Dagmara Bielecka, “Organica 1”
Allyssa Burch, “Honey Bed”
Evan Burnette, “Commemorative Pigeon Plate #1”
Madeline Cardone, “Circ I”
Sukyung Chung, “conception”
Jacci Delaney, “Peach Bubble Wrap Cube”
Rebecca Erde, “Sliding Dovetail, in grey blue”
Rose-Mary Faulkner, “Bare (6 – 8)”
Mark Goudy, “Relational Forms (#10 & #12)”
Ursula Halpin, “Cuimhnigh ar an mbearna (mind the gap)”
Marina Hanser, “Diaphanous Progression II”
Suzanne Head, “Knot”
Emi Hirose, “loop Ⅳ”
Amy Hoagland, “Layered Imprint”
Allison Leigh Holt, “Lens 2”
Saman Kalantari, “Still Life”
Brennan Kasperzak, “Multi Color Range and Quilt”
Rachel Lauren Kaster, “The Golden Truth”
Joshua Kerley, “Making Connections – Pink & Grey Arch, Yellow & Grey Block, Khaki Glass & Polystyrene”
Kira Phoenix K’inan, “The Heart’s Invisible Furies, Black”
Ann Klem, “Musings I”
Martha Koerner, “Eighty Two”
Nancy Krinsky, “Raindrop (Barnacle Series)”
Lindsy Marshall, “New Land Forms”
Ashley McFarland, “Break Away and Start Anew”
Lucy Palmer, “Taciturn Blue”
Clare Peters, “In Honour of Seeking, In Honour of Knowing, In Honour of Wisdom”
Andy Plummer, “I Moved On Her Like A Bitch”
Gregorie Rawls, “Eventide”
Daniel Rollitt, “Fragility”
Michelle Ryan, “Execution, 1920”
Marjorie Sanders, “Mu”
David Schuster, “South Georgia Island 1”
Dan Scott, “Conflagrant”
Ilanit Shalev, “Transition #4”
Desislava Stoilova, “La vie en rose”
Jade Tapson, “Scale II”
Matthew Vinci, “Remnant of a Dynamic Process”
Zala Zagorsek, “Dialogue”
FRANfest roundup: Ursula Halpin ahead of Náire Orthu
FRANfest roundup_ Ursula Halpin ahead of Náire Orthu _ YEWTH Words by Seren Bell
Náire Orthu, Fran Festival at Sister Gallery
In stitch and in time – reflections on Náire Orthu. Words by Angelica Harris-Faull PhD Candidate, UniSA