For the 2019 Sculpture by the Sea inside exhibition, I have assembled 7 cast glass boats with each vessel enhanced with my signature lace design and references sea faring women throughout history.

Materials: Glass, cast, pâté de verre
Dimensions: 220 wide, 300 high, 300 depth (all mm).

Nothing is ultimately reliable, death levels all.  I use the symbolism associated with the Gas mask to highlight imagery of nature languishing in humanity’s seemingly unstoppable march to its own grave.  The mask has been constructed using glass frits fused within a plaster cast formed from an original gas mask. The flowers are replicas of ‘Immortelle’ grave site arrangements common to Australian cemeteries some years ago.

An immortelle is a long-lasting flower arrangement placed on graves in cemeteries

Materials: Pate de verre glass
Dimensions: 95 x 57 x20 cm

Photograph by Eva Fernandez

Materials: Pate de verre glass
Dimensions: 95 x 57 x20 cm

Photography by Eva Fernandez

Materials: Pate de Verre glass, hand carved copper
Dimensions: 80 x 10 x 15 (cm)

Materials: Pate de Verre glass, hand carved copper
Dimensions 80 x 10 x 15 (cm)

Materials: Bullseye Glass and Glass Frits, Metal framework, LED Lighting
Dimensions 150 x 60 x 20 (cm)

The project materials are Bullseye plate glass and fused frits using the Pate de Verre process.  The artwork is constructed to resemble the radiating parts or ribs in a fan, using a series of individual panels connected to a frame that includes the imbedded lighting design.  The individual panels are Opaque white glass and will have a layered ornate lace design using soft grey frits (Pate de Verre) fused onto them providing dimension and texture to the design. 

There are two sizes to the panels in the radiating structure (6 panels@600x180x6mm and 5@400x150x6mm)to create the illusion of a gentle fan structure.  LED lighting is secured within a supporting frame and diffuses light from behind each panel.  The overall size of the fan structure will be 1300mm side and 700mm high.  The artwork including frame will have a depth of 200mm.

The artwork is constructed to resemble the radiating parts or ribs in a fan.

Keeping the water out and the wave in

Materials: Pate de verre glass frit
Dimensions: 8cm Diameter

Swim caps came back into vogue in the 1950’s when women going swimming wanted to keep their locks from getting wet.  The swim cap became a must have accessory in a well dressed women’s leisure wardrobe.  I use Pate de Verre granulised glass fused into molds, to capture detail and fine textures from original swim caps.  I hope my art works return us to a time when caps were seen when ever we visited the beach.

Materials: Pate de verre glass frit
Dimensions: 8cm Diameter

Materials: Glass Fit
Dimensions; Various

Flummeries a series of jellified deserts cast through Pate de Verre, variously textured and crystalline, and captured in 'midquiver' on ornate silver platters.  An assortment of dessert forms to symbolise a lamentable loss of handmade domestic values and elegance in presentation.  A dessert buffet made from glass frit and powders reinterpreting the tin moulds employed in making fragile homemade treats. 

Materials: Glass Fit
Dimensions: Various

I have been experimenting with glass casting over a number of years, to capture decoration and detail found on women’s undergarments and have been naturally drawn to the intricacies of lace used in this type of clothing. 

Lace making is described as the production of ornament and fabric concurrently which I feel is similar to my process to embellish everyday objects that I make in glass.  Lace has been further described as the ‘subtle interplay of space, light and shadows and the mystery of concealment’ and it has been a natural step to attempt to capture what is offered in Lace in glass.  

I enjoy using collected or found lace reminiscent of the fabrics I can remember when young in my family home.  I am exploring non traditional lace making techniques using the Pate de Verre glass process to create the defined pattern of space common in lace.  I have developed techniques that builds layers of glass Frit particles within an imprint of lace in a plaster mould.  The pattern of the lace is defined by the colour and texture formed by the particles of Frit glass that are fired to form the finished design.  

My work considers the craftsmanship in the fabrication of lace and embroidery by translating textiles-based research into unique glass art.  Her art applies an innovative Pate de Verre glass casting dexterity to construct an imaginative fusion of concept and materials. 

“Control Briefs” is a reflection on restrictions placed on women, through the expectation of beauty and body image. Restrictive clothing that control both our shape and our desires.

I like to create a visualy strong impact with my art, be well designed and crafted and unique in its form.  Glass is a challenging material and I enjoy experimenting while specifically focusing on pâté de verre glass.