Vicki Torr Online Prize - Member Voting

Voting for the Vicki Torr Online Gallery Prize is now CLOSED.

Renato Perez

My practice explores the poetic potential of glass to inspire wonder. I am drawn to simple binary logics in combination with shape and form to suggest simple topologies. Using a visual language of simple forms I work to add complexity, finding inspiration in both design and the organic.

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

Cara Pearson

Cara is currently completing her Honours in Art, Architecture and Design at the University of South Australia, specialising in hot glass. Her current work explores the psychological manifestation of perfectionist tendencies and their effect on how, as a glass artist, she is able to create work within the hotshop setting. She is currently writing her thesis using work created in the hotshop as her primary research. The underlying theme to much of her past and continuing work has been the idea of a second hand nostalgia, explored through the obsolete and forgotten objects of the past. These ideas have been explored through work that spans both glass and ceramics, encompassing ceramic slip casting, furnace casting and blown works.

Hannah Gason

I am fascinated by visual energy and structure and finding a harmonious balance between them. My works explore this inherent tension and the unique and beguiling materiality of glass. Richly-coloured glass regions and graphic lines construct vibrant abstract imagery, which I arrange according to an instinctive underlying structure. Gestural mark-making is carefully contained with deliberate repetition and order, interweaving geometric order with organic imagery.

Nikki Marcel

I consider the process of making with glass as a metaphor for living with bushfire. All of my artworks in 2015 and 2016 have been part of my 'Bushfire Ready?' series with artefacts made by hot casting direct from the furnace into a range of moulds and kiln forming. Key issues considered regard: the temporality of our existence; our relationship to nature; the ways in which people invest meaning and identity through objects; and how subjective experiences of bushfires inter-connect with local and national communities. My central question is how do we act in present time to safeguard our past against a future we hope never comes.

Thomas Pearson

My current work engages with concepts of Australian identity and discovery; Australian geography, flora, and fauna, are used as a lens to examine ideas of lifecycle, time, and death. My work begins with exploring bodily forms in the hot-shop: skulls, sunken carcasses, and mountain ranges. The physical nature of blown and sculptural glass is very responsive to the makers hand. The work is then textured and surfaced using cold cutting techniques. These two ways of working, as additive and subtractive processes, reference the changing identity, the movement and erosion of the land

Briony Davis

Currently working in creating conversation about social issues and cultural discourse through contemporary glass casting.

Tai Xiao

I think there must be some oriental roots in my subconsciousness as I grew up here. However, I don’t like to mirror or materialize them in clichéd eastern symbols in my works. I hope my works can combine the implicative and realistic aspects into one. For example, the “BC” series was inspired by the ancient bronzes of China, so I tried to use glass and copper at the same time in my work. Another, the “Tune” series, was prompted by my enamoring of the crisp sound of glass.

Madisyn Zabel

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.

Debra Jurss

joyous wonder still moment frozen in time

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.

Thomas Yeend

My current fine art and design glass work explores the potential of pairing blown and cast glass with modern digital processes and mixed media components. My process and work aesthetic is heavily influenced by the combining of modern craft/design technologies (such as 3D modelling and 3D printing), with traditional glass-making techniques. Taking influence from artists and designers such as Tom Dixon, Heike Brachlow, Emmanuel Babled, and Droog Design, I use these acquired digital skills to produce some exciting glass/mixed-media work to create fine art and design work with a focus on creating a stylish-yet-fun aesthetic.

Daniel Venables

My work stems from the desire to communicate the experience of mental illness, focusing on expressing states of depression. My current body of work involves separating this illness into various different “states”. These differing states are each represented by a different work, and they each correspond to a particular symptomatic effect of depression. In order to better communicate these often intangible effects, I rely heavily upon both metaphor and material qualities. I often employ functional glass vessels, that are corrupted and damaged, in order to obfuscate the function for which they appear to have been created. I draw strongly upon the intrinsic preciousness and fragility of glass - manipulating and occasionally distorting these inherent qualities, in order to create an emotional link with the viewer. My aim is to present tangible objects that represent the embodiment of the various symptomatic effects of depression, and allows the viewer a visceral association with my wok, and the condition.

George Agius

George Agius is a New Zealand born Australian based artist whose glass practice is an exploration of emigration, culture and legacy and its contribution to personal identity. “Through the act of emigration we begin to cultivate and share experiences of place, of home and of belonging. Stories are shared, experiences reiterated, and our storylines slowly begin to entwine. “ Agius’ creative process is embedded in the act of making, her work incorporating sculptural and blown glass techniques often resulting in a whimsical aesthetic that helps convey the idea of the absent figure. George has exhibited in Australia, New Zealand and Canada and assisted prominent contemporary glass artists. In 2013 George completed the JamFactory Associate Training Program in Adelaide and has since exhibited in the Waterhouse Natural Science Art Prize, Kennedy Art Prize, KIGA Illuminating Glass award and the Wagga Wagga National Emerging Art Glass Prize. In 2015 George was awarded the Vicki Torr Memorial Prize at the Australian Glass Conference.

Spike Deane

My work draws on narratives found in folk and fairy tales to explore themes of individual transformation and metamorphosis, of ‘becoming’ and human agency. These tales, deceptively familiar, evoke archetypal figures, myths, legends and fundamental truths from our lived experience as social beings in an ever changing world. Every generation finds its own way to re-imagine the core stories of our folk traditions. It is this process of reinvention and renewal that underpins my work

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.

Marina Hanser

My work explores ideas of revealing and concealing, deconstruction and reconstruction and states of transition. Inspired by notions of loss and remembrance, I use cloth as a metaphor because of its ability to make things appear and disappear, and to suggest wounds, healing and transformation. I draw influence from medical imagery, scientific and emotional concepts, material investigations, as well as my own personal experience with loss and grief.


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.

Lucy Palmer

Look out to what’s above. Where there is distance before a horizon, we see time in the space between. The unabsorbed light, that suspended air, it taints everything far off a taciturn blue. A veil that shifts and shapes the far off landscapes, diffusing the mountains into the sky. The sky, not a ceiling, but a limitless expanse. No border, no confines; a space without objects, form or interruption. This space lets thoughts escape, allowing the inner mind to leak out into the void. Here the distinction between self and space blur… I investigate the relationship between vast, open spaces and the mind.

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.

Brondwyn Vivian


Mark Penney

Working with glass to create sculptures.

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.

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.

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.

Billy James Crellin

My work became significantly object focused in research of soniferous and reverberant materials. Thereafter I started using materials to proliferate agendas between industrial and individual frameworks of practice. At intersections between these two polarities, articles are used as a means to ascertain affairs they themselves generate and are composed freely between them. To survey the offhand manner of objects, repeated use of industrially fashioned articles and processes allow for their deceleration. Through this transpires a complex in existence and participation. Therein lies the potential for examining how the industrial – production; mechanization; automation – reproaches or fortifies individualism, and whether one is a more esoteric or independent than the other.

Jenny Bush

A mind trained in the sciences gravitates to the right and wrong, the black and white, the horizontals and verticals of the world. Jenny Bush extends this to the orderliness of the built environment that she appreciates around her. As modern developments encroach, her work celebrates the intricate and non-functional beauty incorporated into older buildings, seen both at home and overseas as she travels.

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.

Chantel Mulder

Mental illness and its personification within society is an area requiring much deeper examination and recognition; in order to ensure the validity of our knowledge and dispel the negative stigma attached to the subject, we must look upon the issue within a more contemporary context, through those who experience it for themselves. My current work focuses on the unrecognised psychological and physical effects of low self-esteem in those who possess a mental disorder, with an exploration on the manifestation of "Body Focused Repetitive Behaviours" as a result.

Laure Fradin

The figurative and the narrative elements have significant importance in my practice. The pieces that I create are deliberately naïve and use a playful dialect. It is my way to give life to my stories and share them with the world. By using these themes I draw a connection between my production work and my artistic pieces. My work explores both playful narrative and childhood fears. I use snippets from my past and my childhood as a base substance for my creations. Glass gives me a chance to transform the everyday into something spectacular. This material can create simple lines, translucency, opacity, brightness and a wide spectrum of colour. These characteristics of glass give me the infinite potential to tell my stories. The objects of my creation aim to evoke nostalgia and make you smile.

NC Qin

My works deal with themes of failure and persistence. It is a subject that hits home because I consider myself a beginner in glass, experimenting with technique and working with each cast in a hit or miss basis. My artworks tell a story when they’re read chronologically. “Icarus”, as the name suggests, is about ambition, it was my graduation piece cast from my own torso with wings too heavy and delicate to fly. “Breath” is ironically about asphyxiation, it is the solidification of the air around the face unable to enter because of panic, of lack of serenity and ability to see oneself clearly. And my ballet series, “Persistence” is my answer to what came before, to the trials and failures I’ve had since starting on my artist career and deciding even if I do fail a cast or two (or more), I can still get back up and make it into something beautiful.

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 and breaks down into two bodies, flat kiln-formed panels and gaffer castings. 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.

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.

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.

Emilie Patteson

My artwork starts with the process of collection. I have been collecting for as long as I can remember. Throughout my childhood I had a large cardboard box that I filled with my treasures: feathers, pressed flowers, smooth pebbles, and skeleton leaves. My work is inspired by this collection and the sense of wonder experienced in childhood. The artworks that I create are an iteration of the collection of my adult years, and an attempt to see the same wonder I saw as a child. My work is also inspired by the aesthetic qualities of scientific collection, from the shapes of the scientific glass, the order and display of the collections, and the attention to detail. These qualities allow me to examine life cycles, particularly of plants. Through this study and observation I realise the fragility and preciousness of life. Death supports life. Decay leads to growth. Study of life cycles allow me to examine mortality, and realise there is beauty in the fleetingness of life. I try to convey these ideas through my artwork. By preserving plant matter inside glass, I ultimately also destroy it because of the temperatures needed to work with the glass. These effects allow me to work with the dualities of growth/decay and life/death to explore the cycles of life.

Catherine Newton

My current work investigates how sculptural objects in glass can embody a sense of maternal love and intimacy. It explores how the materiality of glass, its formal and metaphorical potential can convey the connection between mother and child, informed by psychological theories of ‘nature versus nurture’ through ideas of touch. Discovering ways to represent the physical and emotional connection of a mother and child through touch, specifically the act of hugging. I have produced a body of work that represents maternal love and intimacy in the form of hot formed blown glass hugs and cast glass hugs. Not everyone has a positive experience with motherhood or being mothered, but I hope that the viewer can feel some of my warmth and passion that is embodied in my work. As a practising glass artist I hope to raise awareness of the important role mothers have in today’s society.

Rob Schwartz

My work explores the properties of glass, to activate a dialogue between natural phenomena and the man-made. Reflecting on the ways structural design in contemporary architecture draws inspiration from nature, I use biomimicry as a point of departure. I am particularly interested in the way soap bubbles connect to each other, and create a unique framework. Combining my passion for glass blowing with this approach to systems in nature, I create works that merge the materiality and property of glass with the structure of the connections between the bubbles. The work are models of mixed processes generating an interchange between nature and the man-made. They combine the transformative properties of glass with the formal parameters of shape and volume imposed upon the material through the manufacturing techniques.

Ursula Halpin

Feicim samhail anchumtha sa ghloine dorcha; I see though the glass darkly Glass as a material is both strong and fragile. It has a tension between the ease it can break and the longevity and strength of its structure and this is foremost in my use of the material which reflect the concerns of these objects. It reveals the paradox of strength, endurance, precariousness, vulnerability and danger that are prevalent in the narratives behind the work and the artefacts produced through studio research reflect those paradoxes. The ephemeral nature of these artefacts challenge both in their own make up, materially and challenge the viewer. Using the tradition of Irish crochet lace in my family as a vehicle, I explore the tacit and haptic engagement in the materiality of glass. The initial element of control is cast aside making visible the undoing of stitching and further exploiting the complex dichotomy of the ‘speaking subject’ narrative in these works. The subconscious and conscious memories of abject experiences are remediated through making and thinking through the material. The abject experiences are dispelled and the glass objects imbued when the material serendipitously tears, shreds, pulls and breaks apart so it is on the edge of falling apart, or holding itself together, paradoxically demonstrating strength and volatility.

Sharon Harrison

I have always been drawn to creative media that offer fluidity in form, initially experimenting with ceramics and now kiln formed glass to create 2D and sculptural forms. The intrinsic beauty inherent in glass has allowed me to explore the interplay of depth and perspective in my creations, particularly in multi-layered forms, as well as the use of imagery and surface textures. In developing my understanding of the properties of warm glass, I have also begun to adapt them to reflect other artistic techniques I enjoy exploring, such as drawing and painting.

Kristi Totoritis

My artistic practice revolves around trying to come to terms with many of life’s dualities, most often focusing on life and death. By recalling history I am able to somewhat comfort myself by recognition of previous coping methods. Pulling symbols and imagery from various countries, social groups, and cultures I make objects that discuss how humans react ceremonially to the cycle of life, and the relationships we form. I am interested in how humans deal with love, loss, mourning and remembrance.

Rose-Mary Faulkner

The body is simultaneously familiar and foreign to us. It is with us always, yet we only ever have a restricted personal viewpoint of ourselves; the angles we see of ourselves are never the same as external looking. My honours research project in the Glass Workshop at the Australian National University presents a study of my own body from this viewpoint. I aim to map and record the female figure through abstracted and layered photographic imagery in order to analyse form and surface. I investigate ways to observe as well as experience the body, expressed visually through soft dappled imagery, subtle colour and ethereal fragility evocative of feeling and sensation. My practice primarily explores decal imagery on glass, on both flat and three-dimensional surfaces. I firstly photograph sections of the body and abstract these images through digital manipulation. Transferring them to glass, I layer several related images before further manipulating the surface and form through multiple fusings or cold working. This expands the imagery beyond the original photograph as the transparency of glass enhances layering for the purpose of depth and overlapping, which enables me to utilize the specific materiality of glass to suggest bodily form.