breathe #1 won the Helen Hill Smith, Sculpture and Object Prize in The Waterhouse Natural Science Art Prize in 2014.

These plant-like fronds align to trace the word breathe. The molten plasticity of this diaphanous material, formed by breath and gravity, witness the integral connection of plant-life to cycles of respiration. Although often unconscious, the shifting cadence of our breath can afford an awareness of limitless interconnectivity. 

I am humbled by the fascinating rhythms and interconnectedness of life. I endeavour to present sculptural forms that allude to this interconnectivity. Here organically inspired fronds align to trace the word ...effortless 

The looseness of the forms respond to how rarely one is aware of breathing, and how innate and integral the cycles of respiration are.

It is my intention that the molten plasticity of this diaphanous material describes a shifting cadence, allowing for the interplay of the spaces between. Whilst witnessing how central breath is to the process of blowing glass.

Initially this series of work was sparked by attending an inspiring yoga course, under a stand of grand old trees. The awareness to one surrounds and the attention to breath, balance and interconnectivity, was an immersive experience. The often changing orientation allowed glimpses of clouds, through rustling leaves and dappled light, yet essentially we are drawn back to our breath.

Read about the prize at HerCanberra.

Work produced during 2012 for an exhibition at Kirra Gallery, Melbourne, for Canberra Glassworks, and for SOFA Chicago 2012.
In this current body of work, I am concerned with harmonious interconnectivity.

I am influenced by biological variability in its many guises. Aesthetically, my intention is to address the duality between complexity and simplicity. To find movement in stillness. Central to these pieces, is an affinity with presenting both tension and a floating sense balance. Where the spaces between the components, bridge shifting forms.

In working with blown glass, I am interested in exploiting the fluidity of the material. When working at the furnace, I endeavor to produce rhythmically similar components. I find the transition of the states of the material beguiling; where fluidity becomes fragile. Whilst working in the hotshop, I amass a variety of forms, once cooled; this enables me to arrange larger compositions. I then focus on achieving a cadence and interplay between the forms. 

In the most recent works I am presenting watercolour like hues, transitioning through the forms. This continues my interest in the affinity of the material to its fluid state. This also helps to create an illusion of moment and of the dynamic biological interactions, which inform the work.

I am drawn to the intrinsic complexity and aesthetic beauty of biological forms and growth. Intrigued by the complex interplay between an organism and it’s verging environment. Here I seek to capture a quietly shifting sense of reflected growth, whilst being attentive to the spaces and balance between these forms.

Sizes vary from several 35cm tall to 170cm high.

A selection of wall panels from 2006 to 2011.

Blown tinted glass, stainless steel channel, wall brackets, 2010.
Dim. variable, approx. 120 x 90 x 18 cm 

In this composition I am continuing an exploration of organic form. 
I have arranged the individual blown elements in order that each relates and or effects the one beside it.
This work continues an exploration of recurrent themes of interconnectedness.
I am fascinated by how biological forms interrelate with one another.
The two large elements roughly reflect each other, and appear to float upon the surface of the wall. ​