Vicki Torr Online Prize - Member Voting

Voting for the Vicki Torr Online Gallery Prize opened 2 MARCH 2018.

Magdalena Marciniak

"Simplicity" fits well to describe my work: simplicity of subject, simplicity of form, simplicity of light which joins together the components of my artwork, creating an harmonious glass object. In my "Sunrise cube" I capture into the glass the instants in which the sun rises and sets on the beach of Fraser Island (QLD). The piece captures the appreciation of the delightful moments and experiences nature can offer us.

Brondwyn Vivian


Sara Hellsing

My work engages with themes of memory and recollection as I seek to translate these phenomena from the nebulous space of the mind into physical, object form. Through my works, I examine how memory is experienced in connection to narrative recollection, the passage of time and the act of forgetting. I am particularly interested in episodic memory: our conscious recollections of people, places and events which are often linked to the domestic, the family and holidays. My practice also engages with the concept of the ‘memory object’: through an emotional attachment, domestic objects can act as a link to absent people through their ability to preserve and prompt personal recollections.

Rob Schwartz

My work combines glass processes to create simple geometric forms that examine the idea of interlocking sections. Inspired by nature and architecture, I have built a system where single units come together to create new sets of components expanding into larger systems that appear to grow continually. This studio-based enquiry has informed my research question: How can I use the materiality of glass to provoke wonderment in the complexity and ingenuity of the amalgamation of elements in even the simplest of forms? Through the exploration of the properties of glass, I have focused on the way structures in nature, specifically the connection between soap bubbles, can inform structural design in architecture. I examine this through the process of glass casting by joining multiple blown glass bubbles into structural forms that focus on the interfaces between the bubbles. I have identified and drawn comparisons between various elements in nature, design and process to influence and guide my making and aesthetic decisions - man-made and natural phenomenon, glass blowing and casting, multiple components and interconnections. The formation of the systems I am creating relies on the materiality of glass - clear, fluid and structural - and the ability to cast and fuse the bubbles to create the connections. The entire process relies on the connection between the two glass processes, blowing and casting; one cannot work without the other.

Ursula Halpin

I draw the political and personal together in intimately woven glass threads. I link my 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 abject, repetitive crafting and making becomes an active process of positively dispelling trauma out of the body into the object. This is an empowering process, sharing of memories that are held close and carried and an intimate recognition of memories which one attempts to estrange.

Martin Haskett

My current studio work involves exploring colour relationships used as part of the decision making for design of architectural pieces, with an overall ambition of involving the viewer in both this process and the completed architectural works.

Rita Kellaway

The key concepts guiding my current body of work are materiality transformation abstraction

Maureen Nugent

Glass beadmaking is one of the oldest human arts dating back 3,000 years so it is no wonder that even today we are mesmerised by a piece of wearable art that can make us feel uniquely special. Vivid color, eclectic pairings and big, big beads are foremost on my mind when I enter my studio each day. With a basic hothead as my heat source I love the challenge of creating a large, tactile slab of glass that can be strung up into a piece of statement jewellery.

Cassandra Layne

My work began as an investigation into creating objects that demonstrate an abstract depiction of an illusionary grey area between thought and reality. I use glass as my chosen medium to demonstrate how light and texture can be manipulated to create a deception of depth and size. The different textures and shading in the work invites the viewer to interact with the piece by drawing them in. The work is intentionally ambiguous. Casting transparent glass, I create organic spherical shapes with odd recesses and bulges. The shine and shade of the glass helps to create optical illusions of false depth, curve and thinness in the piece. Introducing different light sources allows the object to appear weightless or insubstantial despite it true physical size and weight. The function of the panel pieces is to manipulate perception using colour. They achieve this by using strong bold colours that contrast each other. The contrast plays on the eyes natural ability to sustain a consistent image. The carved imagery punches through the patterning on top giving a look of depth and layer. The glass may appear denser, further away or three-dimensional. Observing the work for an extended period of time causes the clear cut circles to blur and the surrounding pattern to lose its stability and become more convincingly false. Only by touching the surface of the panel is the illusion completely broken and the work completes its journey into a comprehensively solid object. Recently I have been incorporating LEDs into my work in the form of frames and boxes. Different cold working methods are then used to stop the glass from being completely transparent. This causes the glass piece contained within the lit frame to illuminate from seemingly within itself as the LEDs aren’t visible. This brings a whole new level of shadow and depth that can be played upon using the lights of the gallery the work is presented in, and the lights within its own frame.

Jessica Murtagh

Employing techniques such as Swedish overlays, my work combines function and aesthetics with a focus on creating vessels that emphasise the light transmitting properties glass. Inspired by the natural world and our modern, technologically driven lives, my works reflect these motifs through intricate designs that are carved onto the surface of the glass. This creates layers of dimension that tell stories and evoke emotions in the viewer. My pieces are intended to be works of beauty that bring joy to those who view it.


Fascinated by the physical nature of glass, its behaviour at various temperatures,and the way the appearance of the glass when cut into slices reveals the history of the forces that formed it. Exploring pattern-forming using the combination and contrast of chaos and order.

Nada Kesic

Art has always been a passion and driving force in my life. I am forever exploring and being challenged by the never-ending possibilities found in the creative school of life that has for over 40 years shaped me into the artist I am today. Glass has become a passion and each work evolves as it respond to the materials I am working with. Creating kiln formed panels, bowls, platters and recently challenging cast sculptural pieces. I am fascinated by the transformation as I look beyond the surface to the depths, the melding of a rainbow selection of colour, of bubbles captured before bursting and disappearing, powders, frit, stringers, dichroics and metal combining one into the other and the distinct contrasts between them that creates tensions, harmony, and an inescapable energy. The process of creating a finished glass work never ends.

Nadina Geary

My practice is primarily in glass, although I often reference my previous experience with textiles. I work with a variety of glass processes including hot glass, kiln forming, casting and engraving. I discovered a love of engraving and graal work that I intend to pursue further this year. My work ranges in scale from intimate hand held objects to larger pieces cast directly from the body or blown forms made in the in hot shop. I have a broad interest in the concept of self identity, especially how we fashion ourselves versus how we are perceived by others.

Alexandra Frasersmith

My work is about the connections between the human body, nature and architecture. I seek to explore the ambiguous, visceral and beautiful qualities of these themes and the relationships between them. I draw inspiration from the structures of science, medicine and religion. I make lost wax cast glass sculptural work that is a mix of movement and growth, rich in surface grains and evocative of the body. The ambiguities of the form invite closer inspection and contemplation of the imagery associated with the internal, the natural and the architecture in devotional infrastructure.

Vivienne Jagger

Coming from the soft muted hues of England, my first response in glass to the wonderful light and colours of Western Australia was to dive into the water. And I no doubt will return there. But over the past year or so, I am engaged with the trees of this area. The wonderful colour of the crumbling barks, the pale new tree trunks and the light filtering through the trees at dawn and dusk.

Kelda Morris

My practice centers around themes of design, craft and the natural world, with a focus on connecting people through the functional domestic object, which acts as a canvas for sculptural exploration of the material of glass.

Cherie Platen

My inspiration is through my travels and seeking out the craftsmen and artists “works of old masters”. More and more I am drawn to the fine and fragile work found in Italy and Germany and the techniques employed to achieve these intensely beautiful gifts to the world through glass.

Tai Xiao

I hope my works can combine the implicative and conceptual aspects into one. Hence, I don't like to mirror or materialize them with more realistic symbols for practice. For instance, My works Coral Reef Sea Series sourced from the inspiration of Great Barrier Reef. The works expressed my heart yearn for the nature, beauty and purity with abstract approach. They were created by diversiform fusing technique which is the exclusive skill developed by myself.

Madisyn Zabel

I am captivated by the visual collision of opposing forces; positive and negative, volume and flatness, light and shadow. The tension between these binary forces is the influence for my studio practice. Within my practice I explore the spatial relationships between three-dimensional objects and their two-dimensional representations. I combine traditional craft techniques and digital technology to create installations, which explore physical and virtual relationships in the contemporary world. Utilising geometry as a starting point, I create illusions of depth and flatness in glass and mixed media. Inverting the traditional design process these works start with a handmade object which is then rendered in CAD to view from different perspectives. Re-imagining the internal structure of the cast glass form, I create string drawings that project the implied shadow of the object into space. Through the exploration of perception and vantage point, I involve the audience by displaying the work in ways that are activated by movement. By combing glass and string imagery, my work explores the possibilities of shifting perception within and between object and drawing.

Vashti Taverner

Vashti Taverner specialises in kiln formed glass techniques: fusing, slumping and casting glass, with a strong focus on highlighting the intensity of colour that can be achieved with glass and playing with the transmision and refraction of light and texture.

Andy Plummer

Overnight, the streets and footpaths bloom with images made by engineers with their spray paint styluses...mysterious messages packed with coded information. They work quickly with no pretense as to composition or design; after all, time is money. This said, they’re also 'unconsciously' producing some striking imagery. I’ve liberated these markings from the context of the horizontal 'canvas' of the road and from contiguous markings which might provide any clues or reference. I’ve subsequently fused hundreds of glass strips into pixilated mosaics, further abstracting the imagery. The carved surfaces reference the original ‘canvas’. Urban hieroglyphs

Debra Jurss

The work is an abstraction of the environments that it is inspired by – informed and influenced by colour, line and pattern, and the rhythm and fluidity of water. The sculptural forms are made up of fluid layers, with colour flowing through different levels and a sense of fold, slide, and slip, echoing the changes and transitions in our moods and thoughts.

John White

John White is an artist whose practice is infused by the wonders of discovery and history, that which has shaped and influenced our world. He likens this diverse subject matter to how his life has taken many paths, and believes that his heritage, working career and education have all stemmed from his relationship as an artisan with the tools of his trades and practices. John threads these ideals through his sculptural works and production line, both of which encompass his passion for craftsmanship and making.

Nick Doran Adams

The Nintendo Gameboy was such a big part of not only my upbringing; but that of children growing up all around the world. I have always had a fascination of the 8-bit imagery these early consoles created. I use these games to connect with people who have shared experiences of playing these games, and evoking a sense of nostalgia. Using inspiration from popular culture, I have created a series of eggs as a physical representation of the term “Easter Eggs”. This common term refers to images and references to another popular culture scene. Often hidden; making it so that only people with knowledge of these other scenes will notice them. while making these eggs, being very selective about the layout of each image, I drawing on specific moments from games I reference, glitches and hidden scenes are just some of the images I use to create intricate and original layers of pattern. When looking at these 8-bit characters and objects it is interesting to look at the way they were created in the first place. The way these blocky images were created was raster. The method for drawing on screen, the electron rapidly sweeps every line in sequence forming a gridded image, and line by line a picture is assembled. I like to bring this concept over into glass; when creating the images, I layer the glass up using Bullseye sheet glass, cutting them into long strips and placing them down, until I get a complete image. A nice way of merging recent gaming technology and the medium of glass to create a contemporary art form. Though these video game images that I reference are very modern, they are an important part of gaming history. The imagery was created through a form of technology that was so limited on processing power only simple images could be achieved. Due to this they have become symbolic to the beginnings of video game. In this age of technology where programs may be altered and changed after release, I feel it is important to look back at the times when technology or even time restraints left so many games with major glitches and flaws, and these are what people often love most.

Vicky Small

Vicky Small has lived in the south-west of Western Australia for 10 years after relocating from the Riverina Highlands region of NSW. She works in warm glass from a purpose-built studio in her home and is particularly drawn to using glass powder and fritt. Her work focusses on the environment and the effects of climate change as well as the patterns, colours and textures of nature. The pristine environment of the south-west provides added inspiration for her sculptural and functional works. Vicky holds a Bachelor of Art (Fine Art and Visual Culture) from Curtin University and has continued to study under international artists including Aesa Bjork, Amanda Simmons, Alicia Lomne and Ann Petters. Her work was recently recognised with a Highly Commended at the City of Busselton Art Award.