Teaching Assistant Corning Museum of Glass, Summer 2015

18/04/2015

Teaching Assistant Corning Museum of Glass, Shaping Color: From Raw Materials to Finished Sculpture, Heike Brachlow, Summer 2015

I am really excited to be Heike Brachlows Teaching Assistant for her Class at the Corning this summer.

Shaping Color: From Raw Materials to Finished Sculpture

Date
July 13 – 24, 2015
Season
Summer
Technique
Kiln Working
Level
All Levels
Duration
Two-Week Session
Theme and Variations

Theme and Variations I by Heike Brachlow, Photo by Ester Segarra

This class will explore the interaction of color, form, and light in glass through lectures, discussion, and hands-on experience. Beginning with a demonstration of mixing glass batch or frit with oxides to achieve personalized colors, the class will focus on variations in color density and the optical properties of glass. We will work with a variety of model-making, casting, and cold-working techniques. Some glassworking experience is helpful, but not required.

http://www.cmog.org/class/shaping-color-raw-materials-finished-sculpture-1

Teaching Assistant Pittsburgh Glass School, Smoke & Mirrors, 2015

18/04/2015

Teaching Assistant Pittsburgh Glass School, Smoke and Mirrors, Matthew Day Perez

I am really looking forward to the opportunity to be a Teaching Assistant to Matthew Day Perez for his class Smoke & Mirrors at Pittsburgh Glass School in Summer 2015.

https://www.pittsburghglasscenter.org/classes/smoke-mirrors

Summer Intensive

Matthew Day Perez

Matthew Day Perez

Description

Matthew Day Perez

In this course you will exploit the optical qualities of glass while exploring the sculptural potential of the medium. This will be achieved by manipulating glass in a kiln using fusing as well as slumping techniques, applying silver solutions to create mirror coatings, and the introduction of various grinding and polishing methods.

Participants will learn how to develop form, within a kiln, by generating custom molds for slumping – transforming the two-dimensional to three-dimensional. Expect to take away two completed projects as well as an understanding of kiln working, proper mirroring as well as chemical handling and leading construction techniques using various adhesives.

Dates for Smoke & Mirrors

June 15 – June 19, 2015. 9:00 am – 5:00 pm.

Instructor
Matthew Day Perez
http://www.matthewdayperez.com/

New Glass Review 36

18/04/2015

New Glass Review 36

I am excited that my work Below Skin Deep 1 got selected to be included in the New Glass Review 36.

Jurors Statement:

“I also liked very much the blurriness coupled with very precise work in Brian Corr’s piece, and in Marina Hanser’s diaphanous pate de verre panel that is evocative of some Chinese paintings. Both are contained in a strict geometrical shape, which enhances the haziness and the blurred contours inside it.“

New Glass Review 36, p. 23

New Glass Review 36, p. 23

Graduate in Residence (GIR) 2015, Canberra Glassworks

18/04/2015

Graduate in Residence (GIR) 2015,  Canberra Glassworks

About the GIR Program

The Canberra Glassworks Graduates in Residence (GiR) Program is provided each year in collaboration with tertiary institutions, including the UniSA, ANU and Sydney College of the Arts, to give a significant opportunity to an outstanding recent graduate from their respective glass programs.

This residency provides artists with a place and time for research and development, creating a new body of work, developing a particular idea or continuing along a theme, and connecting with other recent graduates from around Australia.

Residents will be provided with a designated work space and will have access to: kilns, flameworking area, cold shop, hot shop and mould room (up to a value of $550 per week). Accommodation in The chapel will be provided for interstate artists.

This program will host one Graduate in Residence (GiR) from each tertiary institutions at the same time to encourage and foster creative and technical exchange and create links across Australia. Each GiR will be required to participate full time for 4 weeks and will be expected to engage with the artists’ community in the centre as well as with the public through a public talk, demonstration or similar. At the end of the residency, each GiR will be required to submit a one page report to Canberra Glassworks and their supporting University on the value of the experience. They will also give a presentation to the student body of their supporting University.

About my Residency

From the 16th of March until the 12th of April 2015 I undertook a 4 week long Residency at the Canberra Glassworks. I feel excited that I got choosen as the ANU Graduate to undertake this Residency and I enjoyed working along side the UNISA graduate Danielle Rickaby.

In the 4 weeks at the Canberra Glassworks I was working on some small prototypes, models and tests which I will continue to further investigate further into larger scale works in the future.

Thank you so much to the Canberra Glassworks and the Australian National University, Glass Workshop for providing and supporting this amazing opportunity.

Further Images of the Residency can be found under the Residency Category of the Website.

Graduate in Residence (GIR)

Graduate in Residence (GIR)

Graduate in Residence (GIR)

Graduate in Residence (GIR)

Graduate in Residence (GIR)

Graduate in Residence (GIR)

Bullseye Glass Artist Residency 2014/15

18/04/2015

Bullseye Glass Artist Residency 2014/15

In December 2014 I undertook a 5 week long Residency at the Bullseye Glass Co. factory in Portland with three other graduates/current Students from the Australian National University Glass Workshop. (Lea Douglas, Hannah Gason and Ruth Oliphant).

This Residency gave me the time and resources to further develop my processes of cast, carved and pate de verre combined works. I found new ways of casting the works an I resolved some of the issues that I came accross in my Honours studies with the scaling up of the works. It has been an amazing experience, thank you so much to all the people that made this Residency possible and unforgetable, Lani McGregor, Daniel Schwoerer, Ted Sawyer, Tom Jacobs and all the great and supportive people from the Research and Education, the sales and marketing department, and a big thanks goes also to the other three Residents from the ANU Lea Douglas, Hannah Gason and Ruth Oliphant. I would also like to thank the Australian National University, Glassworkshop staff members especially Richard Whiteley for all the support and organising this amazing opportunity for us.

Images of the Residency can be found under the Residencies section of my Website.

Bullseye Glass Residency, Marina Hanser

Bullseye Glass Residency, Marina Hanser

Bullseye Glass Residency, 2014, Hannah Gason, Ruth Oliphant, Marina Hanser and Lea Douglas

Bullseye Glass Residency, 2014, Hannah Gason, Ruth Oliphant, Marina Hanser and Lea Douglas

States of Illumination, AUSGLASS Members Exhibition 2015

18/04/2015

States of Illumination Exhibition

I had a work included in the States of Illumination Exhibition as part of the AUSGLASSS Conference 2015 in Adelaide. The works were exhibited through Worth Gallery Adelaide.

View Within and the Process of Healing, 2015, Series of 3 Lenses. Cast, carved, sandblasted, pate de verre and cold worked glass wall panels

View Within and the Process of Healing, 2015, Series of 3 Lenses. Cast, carved, sandblasted, pate de verre and cold worked glass wall panels

 

EASS Craft ACT Exhibition Award, Emerging Contemporaries 2015

18/04/2015

EASS Craft ACT Exhibition Award, Emerging Contemporaries 2015

View Within and the Emotional Stages of Grief, Series of 7 Lens pieces. This series was part of my final Honours Body of Work and I received the Craft ACT Emerging Contemporaries Exhibition Award at the 2014 Graduation Exhibition. The work was included in the Emerging Contemporaries 2015 exhibition at Craft ACT:Craft and Design Centre from the 13th of February until the 28th of March.

Below you can find images of the Installation, the Essay from the Show and my Interview as part of the exhibition.

Installation Images, Image Credit_Art Atelier Photography

Installation Image, Image Credit_Art Atelier Photography

Installation Image,

Installation Image, Image Credit_Art Atelier Photography

Installation Image

Installation Image, Image Credit_Art Atelier Photography

Essay about the Show

Emerging Contemporaries (2015)

Return to index of past exhibitions

Craft ACT Gallery: 12 February to 28 March 2015



By Zoya Patel

Innovation is key to design in all its forms – from the construction of large scale architectural projects, through to industrial design and craft that influences our more intimate experiences of space, objects and time.

Craft ACT’s annual selected exhibition, Emerging Contemporaries, showcases innovation in its fledgling stages, demonstrating the unique and exciting work currently being developed by recent graduates. In 2015, Emerging Contemporaries comprises ten artists, whose work is diverse and varied, but connected by this theme of innovation – each piece demonstrating a desire for continually pushing at the boundaries of design thinking and methodology.

Jasmine Targett’s work interrogates the impact of climate change on our environment, whilst reinterpreting traditional craft materials and techniques. Her work challenges the viewer with perspective – how much do we really see, and where are our blind spots when it comes to climate change?

In contrast, Richilde Flavell invites a sense of familiarity with her ceramics works, connecting with the traditional technique of wheel-throwing to conjure up a sense of comfort and nostalgia. Using her childhood experiences to influence her choice in colours and materials, Flavell’s pieces are tender in outlook, and accomplished in design.

The power of design to incite emotion is another common motif running throughout Emerging Contemporaries. Marina Hanser’s wall-mounted works examine human responses to grief, and have been created using ‚a hybrid process combining traditional kiln casting, cold working and pate de verre techniques‘. Marina’s research has been extensive; ‚I have worked metaphorically with the idea of wounding and healing, drawing influence from scientific and medical imagery and concepts.

Adrian Olasau’s furniture is built around the sensory pleasure of touch. Olasau says, ‚At times, we can miss subtle details when we look at a piece of furniture. This is where your hands get involved.‚ The connection between the elegant aesthetic of his pieces combined with the tactile experience of using them causes Olasau’s designs to enter a new level of sophistication.

Rohan Goradia’s furniture designs are equally sophisticated, but with an authenticity that emphasises the natural grain and texture of his materials. Goradia originally trained as an architect, and his industrial design work allows him to reapply his skills on a ‚human scale,‘ as he puts it. His pieces are stripped back and simple, but with an elegance that demonstrates the thought that has impacted on each element of the design.

The work of Rene Linssen is centred on functionality and ergonomic design. The POD mortar and pestle is ingeniously designed to be both small and functional, and to eradicate the issues of cleaning and cumbersome weight that usually plague the mortar and pestle as a tool. In addition, Linssen’s VIVRE stools are made entirely of flat sheet material, and are lightweight and easy to store. These pieces have a commercial viability to them that demonstrates savvy design thinking that translates easily to actual use.

In contrast to the more practical and functional industrial design of Olasau, Linssen and Goradia, Zoe Brand’s BLANK BADGE project attempts to drill into the purpose of the humble badge, as an object that implies a message, identity marker, or motif. Brand conducted the project with initially 60 volunteers, who were invited to wear a blank badge and allow others to engage with the object. ‚By taking something as cheap and ubiquitous as a badge and through these actions of erasure, intervention and their eventual display, I am elevating these common objects to a status far beyond their intended function. Exploiting the very notion of perceived value.

Value for our environment and our relationship to nature plays a part in the work of Chelsea Lemon. Lemon’s Triangulated Chair incorporates living food plants into the frame, teasing out a theme of interdependence and reliance between the natural world and human life. She says, ‚The chair supports the body physically through the structure and mentally through the benefits of the healthy food plants. Yet this relationship is only maintained if the user is willing to take care of the plants, give to gain.

Sarah Murphy’s Mantle for another time also explores sustainability, alongside a glimpse into the traditional practice of burying the dead shrouded in a protective mantle, made from precious metal. Hanging on the wall, the blanket is made from carefully beaten metal discs, which ripple and shimmer alluringly. On closer inspection, however, the true nature of the piece is revealed – not precious metal, but beer bottle caps, carefully crafted and given a new life. Claire Capel-Stanley writes of the piece, ‚Murphy’s piece makes palpable a different kind of timelessness: the disposable and ephemeral transformed into something of ritual significance.

Despite making what appear to be static objects, Kelly Austin is preoccupied with the idea of movement in groupings of functional ceramic objects, a concept she is exploring through a Master of Philosophy at the Australian National University. Her wheel-thrown pieces are arrestingly beautiful in their simplicity, and remain functional, designed for use more than display. ‚This work is very much about direct and physical use, movement through a range of hands and situations and then a moment of pause before the cycle begins again‚, Austin says.

The artists showcased in Emerging Contemporaries are fingering the pulse of contemporary design in Australia. Looking at the exhibition as a whole brings to light a picture of what our design future might look like – unique, versatile, and boundary-pushing, while still retaining the authenticity and traditional techniques of our past.

Importantly, Emerging Contemporaries highlights the fact that the careful artistry of craft and design is burgeoning, and that emerging artists and designers are ensuring that Australia’s design legacy will continue to grow and evolve into the future. Craft ACT continues to play an important role in fostering the talent of emerging designers, and championing craft and design as integral to our collective cultural experience.

 

Zoya Patel is a writer, editor and founder of Feminartsy, an online literature and arts journal

Emerging Contemporaries_article-1

Interview as part of the Craft ACT Show

Profile Image 1-Hanser Marina

Marina Hanser is a Canberra based emerging glass artist. Originally from Austria, she moved to Australia in 2010 to study at the Glass Workshop, School of Art, Australian National University. She has studied glass in various institutions in Europe, including Glass School, Austria and Vetroricerca, Italy. Hanser’s work is inspired by notions of physical and psychological wounds and scars, caused by emotional trauma such as grief and bereavement. Her series View Within and the Emotional Stages of Grief as part of the Emerging Contemporaries exhibition aims to develop a visual language that triggers an emotional response in the viewer, and causes the viewer to reflect on their own experience with grief.

Firstly, tell us a little about yourself, your background and your medium/field.

My name is Marina Hanser and I am an emerging glass artist based in Canberra. Originally I am from Austria, where I grew up in a small town in the Austrian Alps in Tyrol. I moved to Australia in 2010 to complete a Bachelor of Visual Arts Degree with Honours in the Glass Workshop at the Australian National University. I started working with glass at the age of 15, when I enrolled in the Technical School for Glass in Kramsach, Austria. In 2008, I studied for two years at the Vetroricerca Glass School, in Italy. I have spent much of my time while studying developing an innovative process of combining kiln casting, carving and pate de verre techniques. The process I have developed transforms glass through various working stages, grinding and cutting, filling and melting, smoothing and polishing to echo processes of trauma and healing.

What motivated you to become an artist? And what inspires you to create work?

Since I was a child I knew that I wanted to work in a creative field. My father encouraged me to apply to the Glass School in Austria, the same year he passed away. From the first moment I started working with the material I was passionate and loved the potential of glass. I lost my father, but one of the last things he left me with was showing me my path. With my works I want to express ideas of wounding, healing and material transformation in response to the experience of grief. My aim is to create physical works that evoke the journey of grief and the beauty learned from it, as well as the remembrance of loss. Glass seemed to me the perfect material to represent such a sensitive topic as grief. The loss of a loved one can shatter you and your perspective on life, just like glass can shatter. With my work I want to invite people to open up more to the idea of grief, how it is part of everybody’s life and how we can help each other to become stronger and to see beauty in the recovery from grief.

What does it mean to you to have been selected for the Emerging Contemporaries exhibition?

I am very excited to be part of this show and I feel honoured that my work got selected to be shown amongst all the other talented emerging artists.

Professionally, what would you like to achieve in your career?   

View Within, Detail 2

I want to establish and set up my own studio in the next couple of years and I would like to start exhibiting my work nationally and internationally. Besides being a practising artist and making my own work, I would like to teach internationally. I love teaching and sharing the skills and knowledge I have gained through my studies and I want to help other artists to develop their technical skills and to find their own methodologies within the medium glass.

Tell us about what you are working on now and how you see your work developing in the future?

I have recently returned from the US, where I undertook a five weeks Artist Residency at Bullseye Glass Company in Portland. In this 5 weeks I had the time and resources to further develop and refine my processes and techniques of cast, carved and pate de verre combined works. Currently I am preparing for an upcoming Residency at the Canberra Glassworks in March, where I a want to create some new works. During the last couple of years I spent most of my time with the technical development of my work; in the following months I want to spend more time on the creative and artistic inquiry of my work.

To find out more about Marina Hanser, visit her website

Image credits: View Within and the Emotional Stages of Grief, 2014, cast, carved, sandblasted, pate de verre and cold worked glass wall works, 23×4 cm. Photographs: David Paterson.

EASS KPMG Acquisition Award

18/04/2015

EASS KPMG Acquisition Award

I am pretty excited that my work Embedded Within, was acquired by the KPMG Art Collection on the EASS Patrons Day as part of the Graduation Exhibition 2014, Australian National University.

Embedded Within

Embedded Within, 2014, pate de verre fragment, constructed and brazed steel wall work, 90x60x15 cm, Photograph: David Paterson

 

Graduation Exhibition 2014

18/04/2015

Graduation Exhibition 2014, Australian National University, School of Art

End of the year Grad Exhibition at the ANU School of Art. This show exhibited works of undergraduate students, third year and Honours. My works Embedded Within and Frozen in Time- The Remembrance of the Loss were shown in the School of Art Gallery. My work View Within and the Emotional Stages of Grief was shown in the Glassworkshop.

Frozen in Time- The Remembrance of the Loss and Embedded Within

Frozen in Time- The Remembrance of the Loss and Embedded Within

View Within and the Emotional Stages of Grief

View Within and the Emotional Stages of Grief

Teaching Assistant Pilchuck Session 4

07/07/2014

Pilchuck Glass School TA Session 4, 2014

I am pretty excited that I got chosen as one of the Teaching Assistants for Heike Brachlow and Richard Whiteley’s class, Sculpting Color and Light, Session 4: July 8-25, 2014. It is my first time ever to go to Pilchuck and I am looking forward to this exciting opportunity to work there.

http://www.pilchuck.com/summer_program/2014_program/session4.aspx

Richard Whiteley
http://richardwhiteley.com/ 

Heike Brachlow
http://www.heikebrachlow.com/

Winner Warm Glass UK Prize 2014

07/07/2014

Winner Bullseye Glass Artists Category 2014

I am honored that my work “Below Skin Deep“ is the winner of this years Bullseye Glass Artist Category in the Warm Glass UK competition.

http://www.theglassprize.co.uk/2014-results-cms-44.html

Winner (Bullseye Glass Artists Category):

Marina Hanser  „Below Skin Deep“

My work is inspired by the notions of physical and psychological wounds and scars, caused by emotional trauma, such as grief and bereavement. Glass is an essential material for my work as it can be wounded much like human skin. I use the transparency and translucency of glass to reveal what distress lies within. Wounding and Healing is an important aspect in my work, which I apply by filling carved voids with a paste of finely ground glass and using the heat of the kiln to restore the surface.     Click to see full Artists statement 

The piece is created using Bullseye glass, billets, frits and powders.

The Bullseye Glass category was judged jointly by Lani McGregor, co-owner of Bullseye Glass Company and Michael Endo, Glass Artist and Curator of Bullseye Glass Gallery. 

Marina’s work can be viewed at her website at http://www.marinahanser.com/wordpress/

The prize for this category is donated by BULLSEYE GLASS CO; it is worth $2,400 and includes a return flight from the UK to Portland, Oregon, USA, 5 nights accommodation at the Hotel Modera and a conference pass to BECon 2015. We thank Bullseye Glass Co for their incredible support. Visit their site here: www.bullseyeglass.com

 

http://www.glasstimes.co.uk/article.php?articleID=2186&section=News

GLASS ARTISTS WIN PRESTIGIOUS GLASS PRIZE

Three glass artists from across the globe have been honoured in the Warm Glass UK Glass Prize 2014 on its tenth anniversary.
Leading glass art suppliers Warm Glass UK, based in Wrington, North Somerset, invited entries from glass artists with prizes for ‘Bullseye Glass Artists’, ‘Bullseye Glass Schools’ and ‘Other Glass’ categories.

The winner of the highly prestigious ‘Bullseye Glass Artists’ Prize 2014 is Marina Hanser, an emerging glass artist who although originally from Austria, is currently finishing her Honours Degree at the Australian National University, Canberra and will be graduating in June.

Marina’s piece ‘Below Skin Deep’ is inspired by notions of physical and psychological wounds and scars, caused by emotional trauma such as grief and bereavement. Glass is an essential material for her work as it can be wounded much like human skin. In this body of work, she uses its transparent and translucent qualities to reveal what distress lies within. Starting from physically roughed and ground surfaces, carved voids are filled with a paste of finely ground glass and the heat of the kiln is used to restore the surface.

She said: “I am very honoured and excited that my work has been chosen as this year’s Bullseye Glass Artists winner, especially at this early stage of my career and I am looking forward to the experience and opportunity to attend the BECon conference in 2015. I would like to thank Warm Glass UK and Bullseye Glass for offering this amazing opportunity, and the Glass Workshop (Australian National University) for all their support and encouragement.”

When announcing their decision, lead judge, Lani MacGregor said “This year was probably the most challenging to date partially because the quality of work continues to escalate.” Choosing one winner was clearly very difficult so the panel also made ‘Honorable Mentions’ to two additional artists, Jenny Trinks and Joshua Hershman for the high standard of their pieces.

This year, the “Bullseye Glass Schools” category was introduced in response to the huge growth in glass casting and fusing classes being taught throughout the UK. Warm Glass supply over 400 schools and colleges and are the leading supplier of materials to teachers within the school curriculum. The inaugural winner of this category is 16 year old Alex Barlow from The King’s School, Macclesfield with his piece “Retro Gaming” which is a quirky representation of an old computer game, formed by bending Bullseye Glass stringers over a candle flame to form the shapes of characters from his studies.

Alex’s prize is a Paragon Bench Top kiln, starter kit and glass worth about £1000 for his school, donated by Bullseye Glass Co.

The final category was for ‘Other Glass’ and was open to all glass artists, regardless of the type of glass they work with. A jury selected five of the best pieces from the 88 entries which were then voted on by the public to select Chicago-based artist Paul Messink’s piece “Gnarled Sentinels” as the winner with 30% of the vote. Paul creates hand-painted multi-layered glass panels that exhibit nature in deep dimension, typically using 9-12 layers of glass which are then kiln-cast into a solid panel after all the layers are complete.

Pippa Bluck, Warm Glass UK director said: “We are delighted to showcase some of the amazing work that contemporary glass artists around the world are producing and it is very exciting for us to see how the standard of work increases each year. We are pleased that in conjunction with Bullseye Glass Co, we can continue to offer a platform for Glass Artists to display their work to a wider audience. Marina, Alex and Paul all created fantastic work and we hope they enjoy their prizes.”

Full details of the competition and all entries can be viewed at www.theglassprize.co.uk

 

 

 

 

National Student Art Glass Prize 2014

07/07/2014

Finalist National Student Art Glass Prize 2014

Earlier this year my third year work “Open Wound and Missing Piece“ was selected as a finalist in the National Student Art Glass Prize 2014, at the National Art Glass Gallery, Wagga Wagga Art Gallery.

Open Wound and Missing Piece, 2012, Photograph: David Paterson

Open Wound and Missing Piece, 2012, Photograph: David Paterson

 

http://www.wagga.nsw.gov.au/art-gallery/exhibitions/exhibitions-2014/national-student-art-glass-prize-2014