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The preparatory work for this project has laid the groundwork for ongoing developments in using recycled glass. Where glass is diverted from the waste stream. Initially working with the support of ArtAct through their Covid support funding HomeFront grant to develop processes in my home studio. There is a need to develop strategies for the management and processing of waste glass, both window and tv screens. This preparatory work is now being leveraged in ongoing recycled glass projects. This project enabled me to streamline processing tv glass. Where the tv screens were cleaned, removing adhesives and enamels, electrodes, etc. The glass was then heated to 600 degrees, using solar energy in electric kilns, in our home studio. The heated glass was then pulled from the kiln, plunged into a bath of cold water, where the thermal shock fractured the glass into sharp glass lumps of a manageable size. The glass is then processed in a crushing/breaking machine to further break these fractured chunks apart. This crushed material is sieved and graded into 4 different grades. The resulting frit becomes a usable raw material for casting/ remelting and for blowing. The glass is sourced from different manufacturers, in the waste stream. The importance of this fritting and mixing stage is so that different screens are processed to then be MIXED. These smaller granules become a homogenous mass, and when remelted this material has a compatible structure. The glass can be used for casting or blowing. This can be melted in a custom-built furnace, for recycled glass blowing, or pressed glass. Or by using graphite, plaster, and slip cast ceramics to make moulds, to fill these negative forms as open-faced casting moulds. Subsequently I am working in a team at the Canberra Glassworks [through an Australia Council for the Arts, Rise scheme]. Where we are experimenting with scaling up the processing and use of this fritted waste material as a cullet. These ongoing projects are fertile ground for artistic and architectural applications. A snapshot of some of the behind the scenes work in developing the 'between stillness and movement' project for exhibition at the Canberra Glassworks. Jan 24th- 25th march 2018. A snapshot of some of the behind the scenes work in developing the 'between stillness and movement' project for exhibition at the Canberra Glassworks. Jan 24th- 25th march 2018. In working with hot glass, I attribute the molten fluidity of the making, to present ideas of balance and poise within the finished forms. Within the development of my work, I have been loosely scribing text, as fluid fronds and subtly legible tendrils. As a glass blower I feel an affinity with the fluidity of the material, and more recently, have been drawn to the scale, the historical and scientific links within flame working. I would be interested in using this opportunity to develop my skills in the hot shop, with flame working and to further enable experimentation with neon. I would participate in skills development, experimentation, construction and contemplation. I have been invigorated by the possibilities of making objects and elements as vessels with tendrils of light. I have been exploiting the sympathetic use of cold cathode/neon illumination within sculptural forms. Having had the great fortune to learn the basic skills of neon tube bending, with Richard Wheater, at the Glassworks to produce internally lit glass neon forms. An experience I am excited to expand upon. The work I am pursuing is shifting focus to the lines of handwriting, hand-made lines, drawn in space, exploring and embodying the themes of circulation, diffusion and interconnection. The introduction of neon elements has led to experimenting with suspending the vibrant pulse and emotional intention of the ‘handwritten’ neon text within larger blown forms. This creates an almost unending thread of sinuous reflections within the void of the larger form. I encase language and ideas whilst revealing and obfuscating its own reflections within the forms. These illuminated lines, arch and form text, mark an exploration between stillness and the pulse and sinew of life, to explore presence. For some light relief and serious silliness with friends!!! Netty and Adam and Louis slip and slide, thanks Mel D for the happy snaps!   www.queanbeyanagechronicle.com.au/story/5009589/a-look-inside-the-creative-space/ Matt Curtis from Curtis Glass Art Studio is assisted by son Hugo during the Arts Trail. Photo: Jamila Toderas  Matt, Oscar and Hugo demo making a diatom piece in our studio.  On the road and then in the air, off to Chicago, for another exciting year at SOFA www.sofaexpo.com/ with Habatat Gallery www.habatat.com/ I am looking forward to meeting up with old friends and seeing beautiful Chicago.
Congratulations to our Art Group Creative Fellow, Harriet Schwarzrock, for her win on Tuesday night at the 2017 Queanbeyan-Palerang Regional Council Art Awards. Harriet shared the major prize for her work, flexible, with another local artist, Suzanne Moss and her painting, Flowers for a room of one’s own, pictured with the judges.    pulse 2017 Neon filled blown glass heart form , electrode, transformer. photo SukiHugh_gallery 'between stillness & movement' Research & presentation of interactive blown glass neon installation. This ambitious research project 'between stillness and movement' will culminate in an interactive exhibition. Where 60+ exquisitely blown, neon filled glass heart forms will be installed. The individual forms will be sculpted and subsequently filled with neon gas. Exploring notions of interconnectivity and embodied electrical impulses. Each object will be responsive to human touch, encircling a darkened space, they will be internally illuminated. This project will expand my technical expertise both in the hot glass studio and with neon tube bending. Developing and gleaning skills to present this interactive installation. The installation will be presented at the Canberra Glassworks, as a satellite exhibition during the increasingly popular Enlighten Festival, Canberra 2-11th March 2018.  |
About usIn 2003, Matt and Harry established their studio (affectionately known as Curtistan) in Queanbeyan, New South Wales, where they live with their two sons, Hugo and Oscar and a few furry and feathered friends. Archives
January 2018
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